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Full text of "Donizetti's opera Don Pasquale : containing the Italian text, with an English translation and the music of all the principal airs."

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AID A Giuseppe Verdi 2.00 

In four acts. Italian text 

BOHEMIAN GIRL Michael W. Balfe 1.50 

In three acts 

CARMEN Georges Bizet 2.50 

In four acts. French text 

CAVALLERIA RUSTICANA..Pietro Mascagni 1.50 

In one act. Italian text 

FAUST . Charles Gounod 2.00 

In five acts. French text 

LAKME Leo Delibes 2.00 

In three acts 

MARITANA William Vincent Wallace 2.00 

In three acts 

MIGNON Ambroise Thomas 2.00 

In three acts. Italian text 


In three acts Camille Saint-Sa6ns 2.00 

TROVATORE, IL Giuseppe Verdi 2.00 

In four acts. Italian text 



In three acts ' Robert Planquette 1.50 

VIRTUE Edward Solomon 1.00 

In two acts 

PALERMO Franz von Suppe 2.00 

In three acts 


In two acts Julius Eichberg 1.50 

FATINITZA Franz von Suppe 2.00 

In three acts. German and Italian text 

LITTLE DUKE, THE Charles Lecocq 1.00 

In three acts 

MARTHA Friedrich von Flotow 1.50 

In four acts. German and Italian text 

MASCOT, THE Edmond Audran 1.00 

In three acts 

MUSKETEERS, THE Louis Varney 1.00 

In two acts 

OLIVETTE Edmond Audran 1.00 

In three acts 

LOVED A SAILOR Sir Arthur Sullivan 1.25 

In two acts 

SORCERER, THE Sir Arthur Sullivan 1.25 

In two acts 

STRADELLA Friedrich von Flotow 1.50 

In three acts 

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Copyright, 1888, by Olivek Ditso> & Co 

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Don Pasquale was a rich, credulous, but good-hearted 
•Id bachelor, who lived in one of the middle Italian States. 
He had but one relation, a nephew, by the name of Ernesto, 
a fine young man, who had always lived on the purse of 
his uncle, and in the natural course of events, would in- 
herit his wealth. Uncle and nephew had lived together in 
j*eace and harmony, umtil the former got it into his head, 
© provide for Ernesto a - wealthy widow, by which 
marriage he would beco mfortably settled in life. 
Unfortunately for the uncle's fond plans, Ernesto had al- 
ready formed an attachment to % young girl of much beau- 
ty and many accomplishments, but of very limited fortune, 
— Norina,— and refused to obey his wishes. Don Pasquale 
became enraged at this resistance, swore he would disin- 
herit Ernesto, and resolved to settle himself in marriage, in 
order to have somebody else to leave his money to than his 
ungrateful and undutiful nephew Ernesto. 

As Don Pasquale had always kept himself quite aloof 
from the other sex, he was at a loss upon whom to fix his 
ehoice, when he bethought himself of a Doctor Malatesta, 
who had been friend and physician to him a good many 
fears, and who might be just the person to find him a 
suitable wife. Accordingly the Doctor was sent for, and 
made acquainted with the project of his patron. Now 
Doctor Malatesta, besides being sensible of the absurdity 
of the old bachelor's resolution, was a friend to Ernesto, 
and immediately made up his mind, to save Don Pasquale 
from just ridicule and bitter repentance, and Ernesto from 
'ie fate of poverty. He informed his patron that he had 
* sister, who had just finished her education in a convent, 
and come on to visit him ; that he thought her a capital 
match for his esteemed friend; that he would introduce 
her to him, and, if the impression were agreeable, the mar- 
riage might at once be consummated. Don Pasquale was 
delighted, and asked that the girl should at once be 
brought to him. Malatesta went off and straightway in- 
formed Norina of the mischief that was brewing, and the 
means he had devised to prevent it. These were no less 
than introducing Norina to Don Pasquale as his — Mala- 
testa's— sister, spoken of previously, marrying her to him 
by a sham notary, and then leaving it to the wit and inge- 
nue y of Norina to disgust the bridegroom so thoroughly 
with matrimony, that a denouement would at last relieve 
all parties, restore Ernesto in the affections of his uncle, 
and procure Norina's hand for him. 

Norina did not hesitate to accept the part assigned to her 
in this plot. She accompanied the Doctor to Don Pas- 
quale'a residence, and by well affected modest looks and 
simplicity, so charmed the old bachelor that he desired to 
marry her immediately. Ernesto, who had been informed 
of the intrigue, came just in time to witness the ceremony, 

which was conducted by a fictitious notary. No soonet 
were the nuptials celebrated, when, to the great astonish 
meut of the good Don, with whom order and economy 
were the leading rules of conduct, and who imagined his 
young wife a pretty slave, Norina began to assume the airs 
of a mistress. She dismissed old servants, overthrew the 
order of the household, ordered new furniture, carriage 
and horses. In vain Don Pasquale remonstrated; she must 
and will have her say. He spoke authoritatively, sht 
laughed at him ; he pleaded moderation, she scorned him, 
and recommended him to go to bed, as she had made up 
her mind to go to the theatre with Ernesto As she left 
the room, she dropped a note, which Don Pasquale quickly 
picked up as soon as his spouse had left the room. His 
consternation was indescribable, when he discovered by its 
contents that his wife had made an appointment to meet a 
lover that very evening, by a pavilion in his garden. Doc- 
tor Malatesta was immediately sent for, and, of course, was 
not long in coming. Don Pasquale was furious, talked 
exposure, punishment, divorce, &c, but the Doctor soon 
convinced him, that in his just rage he would probably go 
too far, and persuaded him to grant full power to solve 
these difficulties to himself, the Doctor. "Everything," 
said the old husband, " only get rid of this woman." 

At 11 o'clock Don Pasquale and the Doctor repaired to 
the garden, where Ernesto and Norina enacted the scene 
of an interview. They just caught a glimpse of the figure 
of Ernesto, muffled up in his cloak, who then slipped ofl 
to the house. They seized Norina, who boldly asserted 
that she was there alone, had seen no one, and was to 
meet no one. Don Pasquale had the garden searched. 
Nobody could be found. Norina denied all charges made 
against her. Don Pasquale proposed to buy himself off; 
she would not listen to it. At this juncture the Doctor 
dropped the remark that she would have to share her 
authority, at any rate, with Norina, who was shortly to 
enter the house, as the wife of Ernesto. Don Pasquale at 
first was greatly shocked at this indiscretion of his mana- 
ger, but perceiving the well feigned consternation of his 
wife at these views, he avowed his consent to this strata- 
gem, thinking to drive her out by the new comer. And so 
he did, as he immediately found out, although not exactly 
in the manner in which he thought; for, no sooner had he 
given his consent to the marriage of Norina and Ernesto, 
when the latter stepped forth, took Norina by the hand, 
and asked the blessings of the thunderstruck uncle. Doc- 
tor Malatesta explained the deceit, which had been prac- 
tised upon him, and as Don Pasquale felt so happy at being 
at peace once more, he united the hand of his nephew te 
the hand of Norina- 



9CENA L — Sola in Casa di Don Pasquate, eon Porta tn 
fondo d' entrata comune, e due Porte laterali ehe gutdano 
agli Appartamenti intemi. — Un Orologio segno nave ore. 

Don Pasqualb solo, guarda con impasdenza all* orologio. 

Pas. Son nov' ore ! di ritorao 
II Dottore esser dovria. , 

Zitto ! parmi — e fantasia, 
Forse il vento ohe pas so 

Che boccon di pillolina, 

Nipotino, vi preparo ! 

V6 chiamarmi don somaro, 

Se veder non ve la fo. 
Afalatesta. \TH dentro.] E permesso 1 
Pas. Avami, avanti 1 

SCENA ll.—Entra il Dottor Malat»»ta. 


Pas. \Con ansieta.] Donque ? 






Zitto, con prudenia 1 

10 mi struggo d'impazienza ! 
La sposina ! 

Si trovb ! 

Benedetto ! 

(Che babbione!) 
Proprio quella che ci vnole. 
Ascoltate ; in due parole 

11 ritratto ve ne fo. 

Son tutt' occhi ? tutto oreochie ! 
Mnto, attento a udir vi sto ! 


SCENE I.— A hoom m the House of Don Pasquale, wttk a 
Door for general entrance at the back, and two Side-door i 
leading to inner Chambers.— A Clock, showing the hour m 

Don Pasquale, looking anxiously at the Clock. 


'Tis nine o'clock ! on his return 

My friend, the Doctor, ought to be. 
Hush ! hush ! I think — 'tis fantasy, 

Or else the wind that seeks its bourne. 
Oh, what a mouthful of a pill, 
Nephew, prepare for you I will ! 
Myself I'll call a donkey wise, 
If soon I open not your eyes ! 
Malatesta. [From within.] Have I permission ? 
Pas. Enter— freely enter ! 

SCENE II.— Enter Doctor Malatesta. 

Pas. [ Anxiously.] Well, well, my friend ? 

Mala. Hush, bush, you must be patient f 

Pas. I am consum'd to ashes with impatience ! 

The bride ! the bride ! dear Doctor ? 
Mala. She is found ! 

Pas. Oh, bless you ! bless you ! 

Mala. " ( What a stupid blockhead ! ) 

Exactly such a one as you have wished for. 

Listen with all your ears ; and in two words 

The portrait of the charmer I will draw. 
Pas. I am all eyes — what do I say ? all ears ! 

Mute and attentive, listening I wait I 


Bel - la sic-co me un an - ge - lo! In terra pel le - gri - nol Fre-sca sic-come il gi - glio, 
Beau-teous as an an - gel born I Bright as dews that gem the earth I Fresh as the li - ly at its birth, 

■ no! 
\e earth I 

Che s'a - pre sul 
When op'-ning to 

mat - ti - no ! 
the mom I 

Oc - chio che par-la e ri - del 
Lov'd eyes that speak while smil-ing! 

Sguar - do 
Heart, ev 


cot con ■ 
heart that 

chio ma che vin-ce 1' - e- ba-no! Sor-ri so m-can-ta-tor, sor - ri-so in-can-ta-torl 
flair that can vie with eb ■ o - ny ! A sweet smile might Heav'n adorn,a smile might Heav'n idem J 


Pat. Sposa simile! oh giubilo! 

Non cape in petto il cor ! 
Mala. Alma innocente e Candida, 

Che se medesma ignora, — 

Modestia impareggiabile,— 
Dolcezza che innamora, — 

Ai mi sen pietosa, 

Gentil, buona, amorosa ; 

II Ciel l'ha fatta nascere, 
Per far beato un cor. 
Pi*. Famiglia — 
Mala. Agiata, onesta. 

Pa*. Casato — 
Mala. Malatesta ! 

Pat. Sara vostra parente * 
Mala. Won intenzione.] Alia lontana mm pi> } 

E mia sorella. 
Pat. Oh, gioja ! 

Di piu bramar non so ! 

E qnando di vederla ? 

Qnando mi fia concesso ? 
Mala. Domani sul crepnscolo. 
Pat. Domani ! Adesso, adesso ! 

Per carita, Dottore ! 
Mala. Frenate il vostro ardore — 
Quetatevi— calmatevi : 

Fra poco qui verra. 
Pat. [Con trasporto.] Darvero 1 
Mala. Preparatory 

E re la porto qua. 
Pat. [Lo abbraccia.] 

Oh, caro ! or toste a prenderla ! 
Mala. Ma, udite — 
Pat. Non fiatate. 

Mala. Ma— 

Pat. Non c' « raa, volate, 

O case© morto qua. 

[ GU titra la bocca, * lo tpinge via. 

Pat. A wife like her you're drawn, oh joy ! oh transport I 

I feel my bosom cannot hold my heart ! 
Mala. A soul that's innocent of guile, 
Unconsciously perfection, — 
Modest without compare, the while,— 

Sweetness that wins e'en scorn,— 
Pity the wretched showing, 
With gentle love overflowing : 
By Heaven created with such worth, 
To bless some heart forlorn. 
Pat. Her family — 

Mala. Both wealthy and respectable. > 

Pat. Ah ! of the house of— 

Mala. Malatesta ! 

Pat. Is she, then, your relation ? 

Mala. IMeaningly.] Distantly! 

That is, she is my sister. 
Pat. Oh, what joy • 

More I can never wish for ! 

But when shall I gaze on her 1 

When of such bliss the donor ! 
Mala. At dusk to-morrow eve. 
Pat. To-morrow ! Why not now 1 

In pity, Doctor, bow ! 
Mala. Bridle your ardor warm — 
Quiet yourself— be calm : 

She soon shall come, I vow. 
Pat. [In transport.] Come in reality ! 
Mala. Prepare yourself, 

And I mil bring the lovely creature here. 
Pat. [Embracing him.\ 

Oh, my dear feliow ! fly like wind and fetch her. 
Mala. But listen to me — 
Pat. Do not stay to talk. 

Mala. But, my dear Don — 
Pat. But me no buts, but fly, 

Or I'll fall dead as stone upon the spot. 

[Stops hit mouth, and pushes km mm 


Ah un fo - co in - so - li - to, Mi sen - to ad-dos - so : O - mai 

A fire, all un - felt be - fert, Burnt in my heart's core : I can 

re - si - ste - re- 
re - titt no more— 

lo piu non pos - so. Dell' e - ta vec - chia, Scor do i ma - la - • ni, Mi sen to 
rU strive no long - er. Of old age en - fee - bling me, For - got it the mit - e - ry, Feel - ing ttiQ 

gio - ri - ne — Co-me a vent' an - ni. Dehf ca-ra, af - fret - ta 
young to be — Than twen-ty much ttrong-er. Ah 1 hat - ten speed - i 

ti, Vie - ni spo - si - 
ly, Sweet lit - tie bride, to 


Ec co di bam - bo - li, mez • za doz • zi 
Dear lit tie ba • biet, we Full half a do 

na, Gia veg - go na - see - re, Gia veg • go 
ten, Then we'll have born to me, Grown up they 

ere - see - re, A 
teem to be All 

me d'in - tor - - no, veg - go scher-zar; 
sport - ing round my knee,— Sor - row they'll co ■ ten, 

Veg - go gia na • see 
Grow* up they teem to U 



$iv /in 

V«g - go gi* ere - see - re, ▲ am d'ia 
AO sport my round my lam; Qam boi i+g 

tor - -no 
f 1 - out ly, 

Veg - go ichor - zar. 
Sot - row they'll eo - tm. 

Son rinato ! Or si parli al nipotino, — 

A fare il cervellino, 
Veda che si guadagna ! 

[ Guarda ndU tctm. 

Eccolo appunto ! 

SCENA III.— Ebhbsto « detto. 

Pm, Giungete a tempo : stava 

Per mandarvi a chiamare. Favorite — 
Em. Sono ai voatri comandi. 
Pern. Non vo' farvi uq sermon© : 

Vi domando un minato d' attenzione. 

E vero o non e vero 

Che, saranno due mesi, 

Io v' offersi la man di una atella 

Nobile, ricca e bella ? 
Em. E vero. 

Pa$. Promettendovi per giant* 

Un bnon assegnamento, e alia mi* mora 
Quanto possiedo ! 
Em. E vero ! 

Pas. [Minacciando.] In caso di rifuto, 

Diserodarvi, e a torvi ogni speranza — 
Ammogliarmi, se e d' aopo f 
En. E vero 1 

Pat. Or bene 

La sposa che v' offersi or son tre mesi, 
Ve 1' offro ancor. 
Em. Non posao : amo Norm* ! 

La mia fede e impegnata I 
Pat. Si ! con una spiantata 

Con uno vedovella civettina. 
Em. [Con colore. J 

Rispettate ana giovine 
Povera, ma onorata, e virtuosa. 
Pat. Siete proprio deciso ? 
Em. Irrevccahilmente ! 

Pat. Or ben, pensate 

A trovarvi an alloggio. 
Em. Cosi mi discacciate ? 
Pat. La vostra ostinatezza 

D' ogni impegno mi scioglie. 
Fate di provvedervi — Io prendo moglie ! 
Em. [Nelle massirna sorpresa. J Prender moglie 1 

Pat. 6i, Signore ! 

Em. Voi 1 

Pat. Quel desso in came e in ossa ! 

Em. Perdonate — lo stupore ! 

La sorpresa (oh questa e grossa. ) 

Pat. [Con impazienza.] L' ho detto e lo ripeto : 

Io, Pasquale da Corneto,. 

Possidente, qui presente, 

Sano in corpo e sano in mente — 

D' annunziarvi ho 1' alto onore 

Che mi vado ad aminogliar. 
Km. Voi scherzate — 
Pat. Scherzo un corno ! 

Lo vedrete al nuovo giorno. 

Sono, e vero, stagionato ; 

Ma ben molto conservnto — 

E per forza e vigorta 
Me ne sento da prentar 

Voi, Signor, di casa mia 
Preparatevi a sfrattar 

Yes, I am born again ! Now for mj nephew, — 
By playing thus the careless heedless nairbrai*. 
See what it is the wise and wary gain 1 

[Looking •/ 

Ah ! here the very man comes, apropos ! 

SCENE HI.— Ekksst and Don Pjlsqualb 

Pat. You are jast come in time, sir : I was going 
To send to summon you. Do me the favor — 

Em. Believe me, sir, that I'm at your command. 

Pat. I am not, sir, about to preach a sermon : 
I do but ask a minute's brief attention. 
Pray, is it true, or is it not true, sir, 
That by the calendar, just two months since, 
I offer'd you the hand of a young lady — 
Noble and rich, and beautiful withal 1 

Em. 'Tis true. 

Pat. Promising to make you, in addition, 

A good allowance now, and at my death 
Whate'er I might possess of goods and chauau 

Em. 'Tis true ! 

Pat. [Menacing.] In case of your refusal to accede, 
Disinherit you, cat off all hope, 
Marry a wife myself, if I thought fit ? 

Em. 'Tis true ! 

Pat. Now, then, 

The wife I offer'd yon, now three months siiu* 
I offer yon again. 

Em. I love Norma ! 

My faith is pledg'd eternally to her ! 

Pat. Yes ! to one of ruin'd, desperate fortune- 
To one, a little vain coquettish widow. 

Em. [Warmly.] 

Respect a young unblemish'd female, sir : 
Poor, it is true, but honor'd, sir, and virtu 3 as 

Pat. Have you thoroughly decided ? 

Em. Irrevocably 

Pat. Now, then, hear my decision, sir ; and think 
Of straightway finding for yourself a lodging 

Em. Do you, then, drive me from your favor thus 

Pat. Your stubborn headstrong obstinacy, sir, 

Removes all claims, dissolves all ties between a> 
Provide, sir, for yourself — I take a wife ! 

Em. [In the greatest surprise.] Take a wife, sii 1 

Pat. Yes, signor. 

Em. You 1 

Pat. I, myself, in bone and body ! 

Em. Pardon me — I'm in amazement ! 

This is a surprise, (the precious noddy.) 


Pat. [Impatiently.] I have said it — I repeat it- 
I, Pasquale of Corneto, 
Proprietor, here present stated, 

Sane in body, in mind ditto- 
Announce — you'll duly estimate it — 

I marry shall without delay. 
Em You're playing on me — 
Pat On the horn ! 

You'll to-morrow morning see. 
I am, 'tis true, of age mature, sir ; 
But well preserv'd, and shall endure, sir— 
For strength and sprightliness be sure, sir 

I've enough, and some to spare. 
As for you, sir, leave my house, sir — 

Yes. to tramp, decamp, prepare. 



Km (CS volea questa mania 

I miei piani a rovesciar.) 
Sogno soave e casto 
De miei prim' anni, addio 1 
Se ambii ricchezze e fasto 
^u sol per te, ben mio. 
Fovero, abbandonato, 
Cadnto in basso stato, 
Pria che vederti misera, 
Cara, rinunzio a te. 

Pas Ma veh che originate — 
Che taaghero ostinato ! 
Adeaso, manco male 
Ei par 'capacitate. 
Ben so dove gii duole 
Ma e desso che lo mole ; 
Altri che se medessimo 
Egli incolpar non de. 

Em. [Dopo breve pausa.] 

Dae parole ancor di volo. 

Pas. Son qui tutto ad ascoltarri 

firm- Ingannar si puote an solo. 

Ben fareste a consigliarvi— 
II Dottore Malatesta 
E persona grave, onesta. 

Pas. 1/ ho per tale. 

f$rn. Consnltatelo. 

Pas. E' gia bello e consultato. 

4 'rn. Vi sconsiglia 1 

Pas. Anzi al contrario— 

Mi felicita, e intantato. 

Em. [Colpitissimo.] 

Come ! come ! oh questa poi 

Pas. \Confidenzialmente.] 

Anzi, a dirla qui fra noi 
La — capite— la Zitella : 
Ma silenzio — e sua sorella 

Em. [Agitatissimo.] 

Sua sorella — che mai sento 1 
Del Dottore ? 

Pas. Del Dottore ! 

Em. (Oh, che nero tradimento ! 
Ahi, Dottore senza corl) 










(His mania comes, my hopes to banish— 

Comes, to ruin all my plans.) 
Sweet holy dreams I loved to cherish 
Of early youth, adieu ! ye vanish ! 
If I e'er long'd for riches, splendor, 
It was but for thee, belov'd ; 
But now, poor and abandon'd, I, 
Reduc'd from my condition high, 
Sooner than thee in misery see, 
Dearest, I'll renounce thee. 
Now, here's an original — 
Obstinate, wrong-beaded ! 
Now, better (it was needed) 
He seems dispos'd — I prayM it. 
I know what 'tis he's dreaded ; 
But that is what I wanted : 
Others he'd have supplanted 
Should not by him accused be. 
[After a short silence.] 
Two words more, sir, I'll speak briefly 

I am ready, sir, to listen. 
One deceives oneself, sir, chiefly. 

To a friend for counsel hasten — 
Haste to Doctor Malatesta : 

He's a person grave, trustworthy. 
So I think. 

Consult him better. 

That, thoroughly, is done already. 

And there's no doubt he dissuades, sir 1 

On the contrary, he aids, sir — 

Wishes me joy, is quite enchanted. 
[Much struck.] 

How ! how ! what's this ? has he recanted 1 
[In a confiding tone.] 

Between ourselves, don't split upon her— 
The, the — you understand — young Donna 
She is his sister — mind, now, honor ! 

[Extremely agitated.] 
His sister — hear I aright ? the Doctor t 
Of the Doctor ? 

Of the Doctor ! 
(Ah, what dark and fatal treason, 
Heartless Doctor, to betray me !) 


Mi fa 
A beg 


il destin men-di - co 
gar has fate now made me 

per - do co hi che a - do - ro in chi credeva a - 
and her I must lose my ador'd one ! He whom I tho't to b& 

mi -co ah 
friend me, ah. 

dis - copro un tra - di-tor 
I find out him a traitor 


d'ogni con-for - to pri - vo 
Bent of each joy of na - ture 

— /—. 
mi se-ro a che pur-vi - vo 
Why seek to live t Ah! me I 


ah non si da mar-to - ro 
Hov eon I bear a - gainst it t 

equal al mio mar-tor 
Unheard of mi - se - ryi 


gni con - for - to pri • vo ml 
of each joy of na - ture, Whsj 

V— W— 0- 


se-ro a che pur vi-vo, 
seek to live t ah. ne t 


non si da mor-tor e - gua - le eguale, a mio mar - tor. 
can I bear against it f Unheard of unheard of mi - se - ryl 



Pms [A parte. ] L' amico e Dello e cotto, 
In sasso par' cambiato ! 
Non fiata ! Non fa motto — 
L' affoga il cropacuor. 
Si rod a : gli sta bene 
Ha quel che gli conviene ! 
Impari lo sventato 
A fare il beJlo amor ! | Entramb* via. 

8CENA IV.— Stanza in Ca»a di Norina. 
Entra Norina, con un libra in mono, leggendo 

Nor. "B tamo era in quel gtiardo 
Saper di Paradiso : 
Che il cavalier Ricciardo 

Tutto d' Amor conqaiso 
Al pie le cadde, e a lei 
Eterno amor giurb !" 

Pas. [Aside.] Our friend indeed seems sorely tried : 
As stone he's almost petrified ! 
He scarcely breathes, and speaks still less — 
He's suffocated with distress. 
Well, let him fret : it serves him right — 
He has what he deserves to-night ! 
And let the wilful fellow learn 
His friends' opinions not to spurn. 

SCENE IV.— An Apartment in the House of Norixm 
Enter Norina, with a book in her hand, reading. 

Nor. " So much that glance revealing, 
Of Paradise was telling : 
Ricciardo impelling 

To own a 8 conqueror, Love ! 
To that sweet maiden kneeling, 
He swore he'd faithful prove !" 

50 ANCH' 10 LA VIRTU— I, TOO, THY MAGIC VIRTUES. Sojlo. Norina. 

anch io la vir - tu ma - gi - ca, D'un guar - do a tern - po e lo - co, 
I, too, thy ma • gic vir - tues know, Of glance wdl tim'd and ten - der, 

So anch' io co - me si 
A gen - tie smile, bom 

bra - cia • no, 

to be - guile, 

I co - ri a len - to fo - co! D'un bre - ve sor - ri - set-to, Conoscoanch'iol'ef 
JT know — an old of - fend-er ! A gen - tl* smile, born to beguile, I know — an old of 


0 0 

fet - to ! 

Di men - zog-ne - ra, la - gri - ma, D'un su - bi - to languor, 
A hid-dtn tear, a languor near, A lan - - guor.... near, 

Co - no-sco i rail - le 
2" know the mode, ok 

mo -di, 

Dell' a - mo - ro - se fro - di 
Of love's be - witch-ing wiles, 

vez - zi e Tar - ti - fa - ci - li, 
His fa - cUe arts and guiles 



de - sca-re un cor, 
lure with wan - ton smiles, 

D'un bre - ve sor 
A gen • tie smile 

ri - set - to, 
bom to be -guile, 

Co - no - sco anch'io l'ef 
I know an old of 

fet - to, 
fend er, 

Co - no - sco, 
I know too. 

co - no - sco, 
/ know too, 

un su - bi - to lan - guor. 
I know the modes, oh, dear 

Ho testa balzana — 
Son d' indol vivace : 
Scherzare mi piace, 
Mi piace brillar. 
Se vien la mattana, 
Di rado sto al segno 
Ma in riso lo sdegn: 
Fo presto a cambiar. 
E il Dottor non si vede 
Oh, che impazienza 

I've a giddy head, I fear — 

Mine s a disposition gay : 
In harmless folly I delight. 

But I'd shine in fashion's ray. 
Approach should melancholy, 

I scarcely can myself contain ; 
But anger to laughter 
I change quickly after. 
My friend the Doctor makes not his appeamae* 
Oh, how impatient — anxious, too, T am. 



Del romametto ordito 

A gabbar Don Pasquale ! 

OncP ei toccommi in fretta : 

Poco o nulla ho capito, ed or 1' aspetto. 

Entra un Servo, le porge una Letter a, ed etc*, 
flier, ( Guardando alia soprascritta.] 

La man d' Ernesto ! Io tremo ! 

[Legge, da cenni di sorpresa, pot di costernaxtime.. 
Oh, me raeschina ! 

SCENA V.— Malatbsta « Nobina. 

Mala. [Con allegria.] Buone nuove, Norma ! 

il nostra stratagemma — 
Nor. \Con vivacita.] Me ne lavo le mani. 
Mala. Come ! che fa ? 
Nor. [Porgendogli la Letter a. \ Leggete ! 
Mala. [Leggendo.] " Mia Norina, — Vi scrivo, 

Colla morte nel cor. (Lo farem vivo.) 

Don Pasquale aggirato 

Da quel furfante — (grazie !) 

Da quella faccia doppia del Dottore, 

Sposa una sua sorella : 

Mi scaccia di sua casa — 

Mi disereda in somma ! Amor m' impone 

Di rinunziare a voi. 

Lascio Roma oggi stesso, e quanto prima 

L'Europa. Addio, siate felice ! Queato 

El' ardente mio voto : il vostro Ernesto." 

Le solite pazzie ! 
Nor. Ma, s'egli parte ! 

Mala. Non partira — v' accerto : in quattro salti 

Son da lui della nostra 

Trama lo metto a giorno, ed ei rimane ; 

E con tanto di cor ! 
Nor. Ma questa trama : 

Si pub saper qual sia ? 
Mala. A punire il nepote 

Che oppone le sue voglie, 

Don Pasqual s' e deciso a prender moglie. 
Nor. Gia' mel' diceste. 

Mala Or ben, io suo Dottore, 

Vistolo cosi fermo nel proposto, 

Cambio tattica e tosto, 

NelP interesse vostro, e in quel d'Ernesto, 

Mi pongo a secondarlo. — Don Pasquale, 

Sa ch' io tengo al convento una sorella, 

Vi fo passer per quella ! 

Egli non vi conosce, e vi presento 

Pria ch* altri mi prevenga ; 

Vi vede e resta cotto. 
91 or. Va benis8imo. 

Mala. Caldo ! caldo ! vi sposa : ho prevenato 

Car lotto, mio cugino, 

Che fara da notaro ; al resto poi — 

Tocca pensare a voi. 

Lo fate disperar. — II vecchio impazza, 

L'abbiamo a discrezione — 

Nor. Baata — ho capito ! 
Mala. Va benone. 

Nor. Pronta son ; purch' io non raanchi 

A1P amor dell caro bene, 

Faro imbrogli — faro scene, 

Mostrero quel che so far. 
Mala. Voi sapete se d 'Ernesto 

Sono am ico, e ben gli voglio ; 

Solo tendo il nostra imbroglio 

Don Pasquale a corbellar. 
Nor. Siamo intesi— or prendo Pimp egno. 

For the romance his wisdom has projected 
To hoax the sapient worthy Don Pasquale ! 
Of which the Doctor gave me a small hint : 
I scarcely understand it — I wait for him. 

Enter a Servant, who gives her a Letter, and goes out. 
Nor. \ Looking at the address.] 

The hand of Ernest ! I tremble with alarm ! 
[Beads, and shows manifest sighs of fear and turprxm 
Ah, unhappy me ! 

SCENE V.— Malatbsta and Nobina. 

Mala. [Gaily.] Good news, Norina ! 

Our strategem — 
Nor. [Hastily.] I wash my hands of it. 
Mala. How ! what is it you are telling me ? 
Nor. j Giving him the Letter.] Read ! read ! 
Mala. [Reading.] " My dear Norina, — I write to yon, 

Death in my heart. (I'll bring him soon to life. ) 
My uncle, Don Pasquale, influene'd 
By that vile rogue — (A hundred thousand thankn ' 
That double-fac'd old hypocrite, the Doctor, 
Marries a sister of this specious villain : 
Me he drives forth, in anger, from his house — 
In short, he disinherits me ! Love commands, 
Imperatively, that I should renounce you. 
I shall leave Rome to-day, and, soon as possible. 
Quit Europe too. Adieu, be happy ! This 
Is my most ardent wish : yours ever, Ernest." 
The usual follies ! 
Nor. Ah, but if he goes ! 

Mala. He will not go — I say so : in four skips 
I shall be with my gentleman. Then our 
Rare plot I'll let him into, and he'll stay ; 
Ay, and with all his heart, too ! 

But this plot : 

May I, pray, be allowed to know what it is f 
To punish, as he thinks, his graceless nephew, 
Who dares rebelliously oppose his wishes, 
Pasquale has resolv'd to take a wife. 
You told me so before. 

Well, this Doctor, 
Seeing he's so firm in this idea, 
Have changed my tactics, and soon — very soon 
For your own interest, and for that of Ernest, 
I, to begin with, second him. — Don Pasquale, 
Knowing that I have a sister in a convent — 
Why, I intend to pass you off for her ! 
He does not know you, and I shall present yon 
Before by others I'm anticipated ; 
He sees you, and he's done for. 
Excellent ! 

Hot ! hot ! I wed you to him : I've prepared 
That clever fellow Charles, my trusty cousin, 
To play the notary ; and for the rest — 
Why all the rest will rest with you, that's all. 
You drive him to despair — old fool, distracted 
He then will be completely at our mercy, 

I understand — enough ! 

Nought can be better. 
I'm ready — anything — so I lose not 
The love of my ador'd one. My belov'd, 
I'll make perplexities — will fashion scenes ;— 
In short, I soon will show what I can do. 
You know, and can of Ernest tell, 
If I'm a friend, and wish him well ; 
Our plot but tends, you may believe, 




A da. 



Don Pasquale to deceive. 
We're quite agreed, and I' 

m enlisted. 



tfaia. Io la parte ecco v' insegno. 
Nor. Mi volete fiera, o mesta ? 
Mala Ma la parte non e qacsta. 
Nor. Ho da pianger — da gridar ? 
Mala State un poco ad ascoltar ; — 

Convien far la semplicetta. 
Nor. Posso in questo dar lezione. ' Contraffacendo. 

" Mi vergogno — son zitella — 

Grazie — serva — Signor, si." 
Mala Brava, brava, bricconeella ! 

Va benissimo cosi. 
Nor. " Collo torto." [Coiitraffacendo. 
Mala Bocca stretta. [Contraffacendo. 
Nor. " Mi vergogno." 
Mala Oh benedetta ! va ben issimo cosi ! 

Or si vada, or andate 

A quel vecchio, affe, la testa, 

Questa volta ha da girar. 
Not Gia 1' idea del gran ciraento, 

Mi raddoppia V ardimento ; 

Gia pensando alia vendetta, 

Mi comincio a vendicar ; 

Una voglia avara e cruda 

I miei voti invan contrast*. 

Io T ho detto e tanto basta, 

La saprb, la vo spuntar. 
Mala. Poco pensa Don Pasquale, 

Che boccon di temporale, 

Si prepari in questo panto 

Sul suo capo a rovinar. 

Urla e fischia la bufera : 

Vedo il lampo, il tuono ascolto 

La saetta fra non molto, 

Sentiremo ad iscoppiar. 

FINK dell' atto pkm© 


HCENA 1. — Salone parapettato, addobato eon mduu t*agm~ 

hcenza ed eleganxa. 

Ernesto, solo. 

Povero Ernesto ! dallo zio cacciato, 

Da tutti abbaTidonato, 

Mir estava un amico 

E un coperto nemico, 

Dis copro in lui 

Che a' danni miei congiiira : 

Perder Norina ! Oh, Dio ! 

Ben feci a lei d' esprimere 

In nn foglio i sensi miei : 

Ora in altra contrada, 

I giorni grami a trasci nar sivada. 

| Mala. Tour part by me must Do assisted. 
: Nor. Would you have me gay or tearful * 
Mala. The part is neither sad nor cheerful. 
Nor. Have I then to weep — to scold ? 
Mala. Listen, and you'll al! be told ; — 

You must play simplicity. 
Nor. I'll lessons give — leave that to me. Artme 

" I'm so confused — I'm young, you know — 

Thank you — Your servant, — Yes, sir, — Oh !" 
Mala. Bravo, bravo, capital ! 

It can't be better — all goe3 well ! 
Nor. Head turned aside — " Oh fie ! oh fie !" [.Acting 
Mala, Pursed-up mouth — Ashamed am I. [.drti*? 
Nor. " I'm quite confus'd, my thoughts take wing — " 
Mala. Oh, clever creature ! just the thing ! 


What a fine game ! — all that's farther remaining 
Must now be arranged, — our wishes obtaining 
Of this old fool, all sense who spurn'd ; — 
This time the head will be quite turn'd. 

Nor Th' idea of this enterprise 

Fresh courage to my heart supplies ; 

Already of my vengeance dreaming, 

I seem revenged — such joy's in scheming — 

A cruel avaricious soul 

In vain my wishes shall control — 

I have said it — it suffices — 

I know how to cure his vices. 

Mala. Little thinks poor Don Pasquale 
What a wordy tempest really 
Is preparing at this moment, 
To rush upon him for his torment : 
The whirlwind howls — spreads fear and wonder 
I see the lightning, hear the thunder — 
The thunder-bolt, before long, all 
Will hew in bursting vengeance fall. 



SCENE I. — A prepared Saloon, furnished with the utmem 
magnificence and elegance. 

Ernest, alone. 

Poor Ernest I ! Turn'd out by my uncle, 

By all abandon'd ! 

Even he, whom I believed to be 

An earnest friend to me, 

I now discover 

To be my secret enemy ! 

Lose Norina ! oh, Heavens ! 

'Tis well, that in a letter 

To her I have my soul unburden'd. 

I shall now in another country 

Spend my weary days. 


Cer-che-ro Ion - ta - na terra do-ve ge-mex sco - nos - ciu - to, lk vi-vrb al cuo-reii 
I thaU teek a far - off tpet wker* me me on my grief in - trudeth- • tMen Til ekerioA but me 


0 — 1 

« — 0 — _ — - 


gaerra de - plo - rando il ben per - da - to de - plo - rando il ben per - da 
thought of the faithless one who left me, of the faith-less one who left 
0- -0-. m ' ~-0- -0- 



Ma ne 
Not the 

sor - te a 
tricks of 





mi - ca ne frap - pos - ti, mon - ti e 
enemies will dis • turb there the current cf m% 

V 7 7 -EE 

mar, ti po - tran-no dol-ce a - mi ca 
thoughts, nor ef-face thy charming pic-ture, 

dal mio co • re, 
sweet No - ri - na, 

can - eel - lar 
in my heart I 

Non - ti po 
No, not the 

tit* > ' n it \%t%iK^m 

tranno dal raio co - re can - cel-lar non - ti po - tran-no car' a - mica dal mio co-re can-cel-lar. 
tricks of cm - el en'mies will disturb the cur-rent of my tho'tt, nor darken thy sweet picture in my heart ! 





fia cbead al - troog - get - to 
day per - haps you fal • ter 



vol - ga un gior - no il 
love to me you 


co-re Se nasi fia che un al - tro af-fet-to spenga In te Panti - co ar - do - re non te 
cherish 1 shaU grieve not, heart* may al-ter, Fondest love map wane and per - ish, Fear mjr 

» 0 M 0 

mer cheun in - fe - li - ce te sper - ginra ac - ca - si al ciel se tu 
curs es not, for nev-er, by th' of - fee - turn J once bore thee shall I 

sei ben mio fe 
curse thee; if we 


sev - er 

sa - ra 
May be 

pa-go il tao fe - del sa - ra pa - go il too fe - del sa - rm 
hap - pi-ness be - fore thee, may be hap - pi - ness be - fore thee, may be 

.0-0.. -0. -0- _ -0- -0 

pa - go il tao fe - del sa - ra 
hap -piness be - fore thee, may be 

pa-go il tao fe - del, se ta sei ben mio 
hap - pi - ness be - fore thee I If we sev - er sweet No 

li • ce 
ri - no, 


mor - ra 
may be 

pa - go 

hap - 


- pi 

tuo fe - del si mor - ra 
ness be ■ fore thee, may be 

pa - go 

hap - pi 




-0:0- -0. 

■ UL 1- 




il tao fe • del, 11 too fe 

be hap - pi - ness be • fore thee, hap-pi - ness be - fore 




Don Pasqoalv, in gran gala, msguUo da un Servo 

Pas [Al Servo.) 

Qaando avrete introdotto 

II Dottor Malatesta, e chi e con lai, 

Bicordatevi bene — - 

Nessuno ha piu da entrar : guai se lasciate 

Rompere la consegna ! Adesso andate. {Servo via. 

Per un uom sui settanta — 

(Zitto, che non mi senta la sposina)— 

Convien dir che son lesto e ben portante 

Con qnesto boccon poi 

Di toillete — [Si pavoneggia] — alcun viene 

Eccoli 1 A te mi raccomando, Iniene ! 

9CENA II. — Entra Dottore Ma latest* eonduemndo pmr 
mano Nobjna, velata. 

Mala. Via da brava ! 

Nor. Reggo appena: 

Tremo tntta ! 
Mala. V inoltrate ! 

[Nell* otto che il Dottore fa inoltra Norina, acc*n*a ax 
mano a Pasquale di metterti i* dxsparU Pasgw. 
«' rincantuccia. 
Nor. Ah, fratel, non mi lasciate ! 
Mala. Non temete ! 
Nor. Per pieta — 

[Appena Norina e sul davardi dm proseonit, il Dotu 
corre a Pasquale. 
Mala. Fresca uscita di conveuto, 
Natnrale e il turbamento : 
E per tempra un pb selvatica ; — 
Mansuefarla a voi si sta. 
Nor. Ah fratello ! 

Mala. Un sol moment©— 

Nor. Se qnalcnn venisse a an tratio — 

(Sta a vedere, vecchio matto, 

Ch' or ti servo come va!) 
Pom. Mosse, voce, portamento 

Tutto e in lei semplicita ! 

La dichiaro nn gran potent©, 

Se risponde la belta ! 
Nor. Ah, fratello ! 
Mala. Non temete ! 
Nor. A star sola, mi fa male ! 
Mala. Cara mia, sola non siete, 

Ci son io, c' e Don Pasquale. 
Nor. [Con terrore.] Come — un uomo 1 

Ah me meschina ! 

Presto andiam — fuggiam di qua I 
Pat. (Com' e cara e modes tina 

Nella sua semplicita !) 
Mala. Quella scaltra melandrina 

Impazzire lo fara.) [A N*^> 

Non abbiate paura, e Don Paaquale, 

Padrone e amico mio, 

II re dei galantuomini. 
[Don Pasquale ti confbnde in inehsm : Norma 
Mala. [A Norina.] 

Rispondote al saluto * 
Not . \Fa la reverenza tenza guardar Don PamptaU. I 

Grazie — serva, Signore. 
Pa» ( Che bella mano !) 
Mala ( E' gia cot to a quest* ora !) 
Nor. (Oh, che baffiaao !) 

[Ikrn Patquale dispone tre mom ; uimitm Lkxu* 
Mala. [A Pasquale.] 

Che ne dite * 

Enter Don Pasquale, in grand costume, follow I by a Servant 

Pas. [To Servant.] 

When, on his coming, yon hare introduc'd 
Doctor Malatesta, and she who will be with him, 
Remember well — let there be no mistake- 
No one admit : woe to von if yon let 
Any one enter ! Now then, vanish. [Erit S*nxna 
Come, for a man that's turn'd of seventy — 
(Softly, I must not lot my intended hear)— 
All must allow at least, I'm well and active, 
And with this taking — this killing style 
Of dress — [Parading about] — hut caution, ther* u 

some 6ne coming ; — 
They're here ! To thee I yield myself, oh, Love 1 

8CENE II.— Enter Doctor Malatesta, leading it. Noi:>4, 



Mala. Come on, — take courage 

I'm trembling all over ! 
Mala. Come 

I can scarcely stand 

advance ! 

[At the moment that the Doctor leads Norina forward, 4* 
makes a sign with his hand to Don Pasquale to faL 
back. Don Pasquale shrinks into a corner. 
Nor. Ah, my brother, do not leave me thus ! 
Mala. Do not fear, trembler ! 
Nor. In pity, brother — 

[Norina has scarcely reached the front of the stage b*fr»- 
the Doctor runs to Don Pasquale. 
[To Pasquale.] Newly coming from a convent, 
Natural is her confusion : 
By nature she's a little shy ; — 
You will mould her, by-and-by. 
Ah, my brother ! 

But a moment — 
But think, should any one's intrusion— 
(You shall soon, you old fool, see 
How I mean your heart to torment!) 
Air, voice, and gesture, all agree, — 
All's in her simplicity ! 
She'll shine all prodigies beyond, 
If beauty does but correspond ! 
Ah, brother ! 

Do not be afraid ! 
But by myself to stay — a maidl 
My dear girl, you'll not be alone ! 
Here '8 myself, and here's the Don. 
How ! Oh, my virgin heart ! a man I 
How dreadful, nothing beat it can ! 
Let's go directly — fly this place ! 
How charming, modest, is the grace 
Of her sweet simplicity. 
Mala. (This cunning wicked little one 

Will drive him mad before she's done.) [To Norma. 
Fear nothing, it is only Don Pasquale, 
A patron and a friend of me and mine, 
Who long has reigned the king of all good fellows 
I Don Pasquale makes a profusion of bourn ; Norma dom 
not look at him. 
Mala. [To Norina.] 

Why do you not acknowledge his salute* 
.Vut | Curtsies, without looking at Don Pasquale.] 

Thank -ye, I'm much obliged — your humble »er»aai 
(Oh, what a dear delicious little hand 1) 
( His goose is cooked alreadv ! ) 

' (What a blockhead I) 
(Don Pasquale arranges three chairs; theg sit domm. uh 
Doctor in the middle. 
Mala. [To Pasquale.] 

Now, candidlv. what do voa say to her • 














Pa*. (E' on incanto — ma quel velo—) 

Mala. Non oseria, son certo, 

A sembiante scoperto 

Parlare a an uom. Prima 1' interrogate ; 

Vedete se nei gusti y' incontrate, 

Poscia vedrem — 
Pa* (Capisco; — Andiara, coraggio [A Norina. 

rosto ch' ho 1' avvantaggio — 


Anzi il Signor fratello, 

II Dottor Malatesta — 

Cioe — volevo dir — 
Halo. (A Norina.] (Perde la testa !) 

Rispondete ! 
N* . [Facendo la Riverenxa.] 

Son serva ! mille grazie ! 
Pa*. [A Norina.] 

Volea dir ch* alia sera 

La signora altera la compagnia 
Nm. Niente affatto. Al convento 

Si stava sempre sole. 
Pat. Qualche volta al teatro < 
Nor. Non so che oosa sia, ne saper bramo 
Pas. Sentimenti ch' io lodo, 

Ma il tempo uopo e pas sari o in qualcha mode. 
Nor. Cacire, ricamar, far la calzetta, 

Badare alia cncina ; 

II tempo passa presto. 
Mala. (AhMalandrina!) 
Pas. [Agitandosi sulla sedia.J 

Fa propria al caso mio. 

i Al D-tor*. 

IQuei vei per carita !) 
A Norina.] Cars Sofroni*, 

Limovete quel velo. 
Nor. [ Vergognosa.] Non oso — in faccia a an uom. 
Mala. Ve lo comando. 

Nor. Obbedisco, fratel. [Si login. U velo. 

Pa*. [Dopo aver la guar data, levandon * tm tratto, eaando 
addietro come spaventato.] 
Misericordia ! 
Mala. [Tenendogli dietro.] 

Chefu? dite:— 
Pa*. Una bomb a in mezzo al core. 


Per carita, Dottore. 
Ditele se mi mole : 
Mi mancan le parole — 
Sudo, aghiaccio— son motto 1 
Mala. [Piano, a Don Pasquale.] /Fat* oere! 
Mi sembra ben disposta : or* le parlo. ) 

[A Norina, p*an*. 

Sorellina mia cara : 
Dite, vorreste — in brave, 

Qnel 8 ignore. [Aetmna Dm Pasquals. 

Vi piace 1 

Nor. [ Con un occhiata a Don Pasquale, eh* n nngalvjaa. j 

A dirlo ho soggezione. 
Mma. Coraggio! 

Nor. [TimidamenU.] Si- ( 8ei pure il gran babbtoa* ! ) 
Mala. [Tornando a Don Pasquale.] 

Consente : e vostra ! 
Pa*. | Con transporta.] Oh, gittbilo ! 

Beato me! 
Nor. (Te n' arvedrai fra pooo ! ) 
Pas. Or presto pel Notaro ! 
Main Ho tolto meco il mio ch' e in aaric— a 

Or 1' introduce. J **» 

Pa*. Oh caro ! 

Quel Dottor pensa a tutto ' 
Mala, [Rtentrando col Notaro.] Ifrxx) U Nouux 1 

Pa*. (She's a complete enchantress, — but that veil — ) 
Mala. She would not dare,— of that I am quite certain, 

She is so shy — with an uncover'd face, 

To speak to a live man. First question hei , 

See if your tastes, your sentiments agree ; 

Then to behold- 
Pat. I understand ; — Come, courage. [To Norwm 

Since I have the favor — the advantage, Miss — 

[Confuses himndf 

As my esteemed friend, the Signor, your brother, 

Your worthy brother, Doctor Malatesta — 

That is — I mean to say — 
Mala. [To Norina.] (He's lost his senses !) 

Reply ! 
Nor. [Curtsying.] 

Your servant, Sir ! A thousand thanks ! 
Pas. [To Norina.] 

I meant to say that in the evening, Miss — 

For the young lady, doubtlessly, likes company— 
Nor. Oh, not at all ! In fact, sir, at the convent, 

We always, all of us, remain'd alone. 
Pa*. Well, but you sometimes wish'd for the theatre ' 
Nor. I don't know what that is, and don't desire. 
Pa*. Sentiments that I highly must approve ; — 

But one must pass the time some way or other ? 
Nor. In sewing and embroidery ; knitting stockings ; 

Superintending, too, 'tween whiles, the kitchen. 

Time passes quickly then. 
Mala. (Ah, wicked baggage 1) 

Pa*. [Moving in his chair, j 

The very thing for one in my condition ! 

[Tothe Doetm 

That veil, for pity's sake — 
Mala. [To Norina.] My dear Sophronia 

Remove that veil — remove that envious veil ! 
Nor. [Bashfully.] Before a man ! I dare not! 
Mala. I command yon ! 

Nor. I obey, brother : there, sir ! [Take* off her tml. 

Pa*. [Having looked at her, springs up suddenly, and gom 
back as if Jrightened.] 

Mercy on me ! 
Mala. [Holding him back.] 

That sudden start — those words ! what was it 1 say 1 
Pa*. A bombshell in the centre of my heart. 

[Extremely agitaUd. 

In charity — for mercy's sake, dear Doctor ! 

Do only ask her if she will but have me . 

I want words, Doctor — I'm spiflicated — 

I flush— I freeze — dumbfounder'd quite ! 
Mala. [Low, to Don Pasquale.] (Take heart! 

She seems dispos'd to favor you : I'll speak to her.) 

[To Norina, in a low vote*. 

Hear me, my darling little sister : 

Say, candidly — say, would you like, in short, 

That gentleman. [Pointing to Don Patquml*. 

Think well — how does he please you ? 
Nor. [ With a glance at Don Pasquale, who show* his delight. | 

I feel inclin'd to say I think he does. 
Mala. Courage, Sophronia! 
Nor. [Timidly.] Yes. (The great baboon !) 
Mala. [Turning to Don Pasquale.] 

You hear, Don : she consents — she's yours ! 
Pa*. I With transport.] Oh, joy ! 

Oh, happy, happy man ! bless'd that I am i 
Nor. (I will convince you of your bliss, ere long ! ) 
Pa*. Now, quickly for the Notary, dear friend ! 
Mala. I have brought mine — he's in the anti-chamber 

I'll straightway introduce him here. ( Km* 

Pa*. Delightful ! 

The Doctor thinks of everything ! 
Mala. [B*-*mt*ring with th* Notary. \ The Notary 1 



SCENA II.— Notaro « ditto. 

Don Pasquale e Norina seduti. — / servi ditpongono in 

mezzo alia Scena un Tavolo coll' occorrente da scrwere : sopm 
il Tavolo sard un rampanello. — Notaro saluta, siede e r" 
accinge a scrivere ; Dottore, in piedi, a destra del Notaro, 
com* dettandoglt 

Mala. Fra da una parte — et cetera, 

Sofronia Malatesta, 

Domiciliata — et cetera ; 

Con tutto quel che resta 

E d' altra parte — et cetera. 

Pasquale da Corneto, 

Coi titoli e le formole 

Secondo il consueto : 

Entrambi qui present!, 

Volenti, e consenzienti, 

Un matrimonio in regola, 

A stingere si va ! 
Pm. [Al Notaro.] Avete messo * 
Vc«. Ho meuo. 

Pa*. Sta ben ! [ Va alia mntstra dd Natarv 

Scrivete appresso — [ Com* d*tt*msh. 

II qua prefato — et cetera, 

Di quanto egli possiede— 

In raobili ed irnmobili — 

Dona — tra i vivi— e cede, 

A titolo gratuito, 

Alia suddetta — et cetera, 

Sua moglie dilettissima, 

Fin d' ora, la meta. 
Nat. Sta scritto. 

Pom. E intende ed ordfau 

Che sia riconosciuta 

In questa casa e fuori, 

Padrona, ampia, assoluta, 

E sia da tutti e singoli, 

"Di casa riverita — 

Servita— ed obbedita, 

Con zelo e fedelta. 
Mala. 0 Nor. [A Don Pasquale. \ 

Rivela il vostro core 

Quest atto di bonta. 
Nat. Steso h il contratto : restano 

Le firme — 

Pas. [Sottoscrivendo con vivacita. j Ecco La mi* J 
Mala. [ Conducendo Norina al tavolo, con dole* moimws. | 

Cara sorella, or via 

Si tratta di segnar ! 
Not. Non vedo i testimonii : 

Un solo non pud star. 
[Mentre Norina sta in atto di sottoscrivert, st sent* la voce 

di Ernesto dalla porta (T ingresm : Norma latcta 

coder la penna. 
Em. [Di dentro.] Indietro, mascalzoui ! 

Indietro, io voglio entrar : 
Nor. (Ernesto ! or veramente 

Mi viene da tremar!) 
Mala. (Pub tutto rovinar!) 

SCENA III — Eutbito, « dtttL 

Ernesto, senza badare agli altrx, vu dritm a Dm* Pom- 


In. (i Pasquale, con vivaciia.] 

Pria di partir, Signore, 

Vengo per dirri addio : 

E come a un malfattore, 

Mi rien couteso entrar. 
Pas [A Ernesto.] 

8' era in faccende — giunto 

SCENE II.— The Notary, and the others 

Don PaSQUALK and No a in A seated. — Servants arrange im 
the middle of the Stage a Table, with uniting materials . 
upon the Table is a Bell. — The Notary bows, leasts htmiif, 
and begins to write ; the Doctor standing to the right of du 
Notary, as if dictating to him. 

Mala. Between, on one part — et cetera, 

Sophronia Malatesta, 

Residing at — et cetera ; 

And all remainders over : 

And on the other part — et cetera, 

Pasquale of Corneto, 

With titles and formulas 

From custom immemorial . 

Both of them being present, 

And willing and consenting, 

A marriage legal, valid, 

Are going now to — cancel ! 
Pa*. [To the Notary.] Have you written 1 
Not. I have written. 

Pa*. Very good! [Goes to the left of the Ncsurm 

Ton, then, will write, now — \As if dirt\*my 

The aforesaid Don — et cetera, 

Of whatever he is possess'd — 

Moveables and immoveables — 

Gives — being of sound life— and cedes. 

As his own free act and gift, 

To the above nam'd — et cetera, 

His beloved wife delectable, 

From this time, an equal half. 
Nt. It is written. 

Pms. And he wills and order* 

That she shall farther be acknowledged 

In this house ; and when not in it, 

The mistress wholly, absolute 

And by all, herself shall be, 

In the house, paid reverence due— 

Serv'd by all — by all obey'd 

With zeal and with fidelity. 
Mala. 4- Nor. [To Don Pasquale.] 

In this you truly show your heart— 

This spontaneous act of bounty. 
Net. The contract's drawn : there but remain 

The signatures — 
Pa*. [Signing eagerly.] Here's mine ! 
Mala. [Drawing Norina to the table with gentle comf n***— 

Dearest sister, now come, thine ; 

For thou must be the next to sign 1 
Not. I do not see the witnesses : 

One alone will not suffice. 
[ While Norina is in the act of signing, the von* # lb 

nest is heard from the outer door: Norma *ms *» 

pen fall. 

Em. [ Within.] Back, villains ! back, I say t 

I enter will — give way ! 
Nor. (Ernest ! I really don't dissemble : 

In earnest I begin to tremble I ) 
Mala. (He may all to ruin bring !) 

SCENE HI — E&nest, and the rw*. 

Ernest, without attending to the other*, got* strata* i» urn 


Em. [To Don Pasquale, warmly.] 

Ere I finally take wing, 

I came here, sir, adieu to say 

Wh«n, like some malefactor, thet 

Would from your doors drive me away 
Pa* [To Ernest.] 

We were engag'd — your coming, thong h, 



Perb voi siete in panto : 
A fare II matrimonio, 
Mancava an testimonio. 

[ Volgendoei a Norma. 

Or venga la sposina. 
Em. [ Vedendola, nel massimo stupore.] 

(Che vedo ? Oh Ciel, Norma ! 
Mi sera bra di sognar !) 


Ma qnesto non pn5 star 
Costei ? 

\Il Donor e che in qnesto frattempo n tars interposta fra 
Don PasquaU e Ernesto, interrompe quest* ultimo. 
Mala. La sposa e quella 

[ Con mtenzione marcata. 

Sofronia, mia sorella ! 
Em. [Can sorpresa crescenUA 

Sofronia ! sua sorella ! 

Comincio ad impazzar ! 
Mala. [Piano, ad Ernesto.] 

(Per carita, sta zitto ! 
Ci vuoi precipitar.) 

\ Piano, a PasquaU 

Gli caoce — compatitelo : 
Lo vd capacitar. 

[Prende Ernesto in disport* 

Figliuol, non farmi scene 
E tutto per tuo bene. 
Se vuoi Norina perdere, 
Non hai che a seguitar. 


Seconda la commedia, 
Sta cheto, a lascia far. 

[ Volgendost alia Ci 
Qnesto contratto adunque 
Si vada ad ultimar. 
[Dottore conduce a sottoscrivere prima Norma, pot Er- 
nesto quest' ultimo, meta per amor*, metm per 

Nat. [Rxunendo le mani degli sposi.] 

Siete marito e moglie. 
Pas. Mi sento a liquefar. 

| (Va U bello a commindar !) 

| Append segnato il contrattoi Norina prtnde un centegne 
naturaU, ardito senza impudenza : t pseno att dutn- 


Pes IFacendo I' otto di volerla abbracciare.. J Carin* ' 
Vor [Rispingendolo con dolcezza.] 

Adagio an poco ; 

Calmate qael gran foco — 

Si chieda pria licenza. 
Pm. [Con sommessione.] 

Me T accordate « 
Nor. [Seccamente.] No. 

[Qui il Notaro si ritira inotstrvate Dmm Pasqnais n- 

mane mortificatissimo. 
Km. Utidendo.] Ah ! ah ! 
Pas. [Con coUera.J Che c' e da ridera, 

Signore impeninente 1 

Partite immantiuente, 

Via, fuor di casa — 
Nor. [Con disprezzo.] Oibo ! 

Modi villani e rustici 

Che tollerar non so. I A Armesto 

Restate! \A Don PasquaU.) La 
Apprender vi saprb. 

Pas. [Conxtemato al Dottore.} 

Dottore ! 
Mala. | Come sopra. I 
Pa* £' an altra ! 

Don rtktqaaic 

Is, ne'ertheless, most apropos : 
My happy marriage to complete, 
One witness more, it seems, is meet. 

[ Turning to Ne 
Advance, my bride. (He has not seen her.) 
Em. [Seeing her, in the greatest amazement.] 

iWhat do I see * Great Heavens, Norina ! 
t seems like some wild dream to me ! ) 

| Breaking 

But I'm deceived — it cannot be. 
Who's this « 
| The Doctor, who has by this time placed himself 
Don PasquaU ana Ernest, interrupts the latter. 
Mala. This lady is the bride. 

[ With marked 
Sophronia, sister dear, my pride ! 
Em. j With increasing surprise.] 

Sophronia ! she his sister — she ! 
I feel that soon I mad shall be ! 
Mala. [Aside, to Ernest.\ 

(For mercy's sake, be silent, pray ! 
You'll ruin all, if more you say.) 

[Aside, to Pamsmmi s . 
He's wretched — pity on him take : 
I will persuade him to submit. 

[Takes Emm asmm 
My son, a scene, pray, do not make : 

All this is for your benefit. 
If you wish to lose Norina, 
You have only to proceed. 

[Ernest tries to speak 
Assist us in this comic scena — 
Peace let us manage — 'twill succeed. 

[Turning round to the Servants 
This contract — all his folly past — 
We're going to conclude at last. 
[ The Lector conducts, first Norina, to affix her 

turt ; ttten, jxirtly by persuasion and partly be /*rm, 

Not. [Joining the hands of the married couple.] 

You are husband, now, and wife. 
Pas. I feel I'm melting ! Mine, for life ! 

^Mala^ \ ^ e * )68t P art ' 8 6° m S to commence ! 

[Tne contract has hardly been signed, when Norma r» 
sumes her natural manner: her self-possession <m 
ease, without boldness. 

Pas. [Attempting to embrace her.] My dearest ! 

Nor. [Repulsing him gently.] 

Softly, have some sense ; 
Calm your great ardor, sir, you most- 
Embrace ! You should have ask'd leave first 

Pas. [Submissively.] 

You'll giant it me, now mine yon are 1 

Nor. [Drily.] No. 

[Here the Notary retires unobserved. Don Pasqnai* i>. 
mains much mortified. 

Em. [Laughing A Ha! ha! ha! ha! ha! ha! ha! 

Pas. [Angrily?] What is there to laugh at, pray, 
Impertinent young jacanapes t 
Hence directly, go away 
Out of my house, quick, or perhaps — 

Nor. [Contemptuously.] Fie upon you — no reply — 
What uncouth, rude manners — fie ! 
I tolerate them can't — not I. [To Emmm 

Remain ! [To Don Pasquale.] Good manners, 

Signor, which you 
So want, I shall know how to teach you. 

Pas. \Jn consternation, to the Doctor.] 
Doctor ! Doctor ! 

Mala. [Also in consternation.] Don Pasqoale ! 

Pas. Whv. she's another— 









Son di sale ! 
Che vorra dir ? 

Scntire mi forb. 
Mala, e Nor. (In fede mia, dal ridere, 
Frenarmi piil non so.) 
[A Don Pasquale.] Un uom qual voi deorwpito, 
Qual voi pesanto e grasso, 
Condur non pub nna giovine 
Decentemento a spasso — 
Bisogno ho d' un bracciere — 

[Aecmmanao Ernesto. 

Sara mio cavaliere. 
[Con vivacita.) Oh ! questo poi, scusatemi : 

Oh questo esser non pub — 
Freddamente.] Perche ? 
f&soluto.] Perche non voglio. 

Con scherno.J Non lo volete « 
Come sopra.] No! 
Facendosi presto la Pasquale, con dolcsaxa affeuata. ] 
Vis cere mie, vi supplico ! 

[ Con en fan crescents. 

Voglio, per vostra regola — 
Voglio, lo dico io sola — 
Tutti obbedir qui devono, 
Io sola ho a comandar ! 
Mala. Ecoo il moment© critico ! 
Em. Lo stretto da passar ! 
Pas. Ma se — 
Nor. Non voglio repliche. 
Pas. \Accennando Ernesto.) Costui — 
Nor. [Istizzita.] Taci, buffone ! 

[Don Pasquale fa per pariar*. 
Zitto ! provato a prendeni, 
Finora ho colle buone, — 

[Facendoglisi presso con minaona 
Saprb se tu mi stuzzichi, 
Le mani adoperar ! 

[Don Pasquale da indsetr* 

iSogno ? Veglio * Cos' e stato « 
}alci — Schiaffi — brava ! bene ! 
Buon per me che m' ha avvisato, 
Or vearem che cosa viene 1 
Che t* avesse, Don Pasquale, 
Su due piedi ad ammazzar ! 
E rimasto la impietrato — 
Vegli, o sogni non sa bene. 
Sembra un uomo fulminato, 
Non ha sangue nelle vene. 



[A Don Pasquale. 

Fate core Don Pasquale, 

Non vi -state a s go men tar. 
Nor. Or 1* amico, manco male, 

Incominci a indovinar. 
[Norina va al tavalo, prende il campane ile , < mmm con 

violenza. — Entra un Servo. 
Nor. [An Servo.] Riunita immantinente, 

La servitu qui voglio. | Servo soot 

Pas. [Che vuol dalla mia gente !) 

' | (Or nasce un altro imbroglio !) 

Entrant) due Servi e un Maggiordonw. 

Nm [Ridendo.] Treintutto! va benissimo, 
C e poco da contar. 

A voi — [Al Maggioxbmo.] — da quaato Minbnum, 
Voi siete il maggiot iomo ? 


Ora attendete agli ordini 
Che jui dispongo a dar : 
Di servitu r ovella 




Mala. What a change ! 

Pas. What does she mean 1 
Mala. Hush, not a wot 4 ! 

Very soon I will be heard. 

Nor. In trutL, *rom laughing, without pain, 
Longer I cannot refrain. 

[ To Don Pasquale ] A man decrepit, Don, m yoo, 
As heavy and a* fat, sir, too, 
Cannot take out a young lady 
Decently to walk, that's clear ; — 
A young man's arm I must have ready — 

[Pointing to Ernom 

He shall be my cavalier ! 

[ With vivacity. I Oh ! as to that, excuse me there 
That can never be, my life — 
[ Coldly. ] Why not, husband ? Do you dare ! 
[Resolutely.] Because I will not have it, wife ! 
[Scornfully.) You will not have it, husband 1 
[As before.] No ! 

[ Going close to Don Pasquale, with affected fondness J 
Love, I implore you, don't say so ? 

[ With increasing vekememn 
I unll, then, for your regulation — 
I will, for I can speak alone — 
That all obey, whate'er their station — 
All here my sole command must own ! 
Mala. Now comes the critical moment — fates ! 
Ern. Now comes the passage of the straits ! 
Pas. But if— 

Nor. I'll have no answering. 

Pas. [Pointing to Ernest.) He— 

Nor. [Enraged.] Silence, buffoon! peace, instantly ! 

[Don Pasquale tries to tpomk 

Be quiet ! I have tried with you, 
Gentle means, sir, hitherto, — 

[ Going up to him with a menacing gesture 
I shall now, should you provoke, 
Use my hands — it is no Joke ! 

[Don Pasquale recoils, thunderstruck 
Dream I ? Sleep I ? What's amiss ! 
Backs — cuffs : good — a fine pretext — 
'Tis well she warn'd me has of this — 
We shall see what's coming next 1 
I, Don Pasquale, she'd think meet 
To trample underneath her feet ! 
He stands quite petrified, and seems — 
To know not if he wakes or dreams ! 
He's like a man by lightning struck : 
No drop of blood runs in his veins. 

[To Don PasquaL 
Take heart, Pasquale, my old buck, 

Don't be discouraged — use your brains. 
Now, then, at least, my worthy friend, 
You must begin to comprehend. 
[Norina goes to the table, takes the bell, and rings with ro» 
lence. — Enter a Servant. 
Nor. [To Servant.] Assembled instantly, d'ye hear, 

I will have all the household here ! [Exit 
Pas. (What with my people want can she *) 

^Ern \ ( Now another hreoze there'll be!) 

Enter two Servants, and Major -Dome. 

Nor. [Laughing ] Three in all! most excellent ! 
Not many, it is true, to count 
You, sir — (To the Major-Domo.) — as far m I mi 
The Major-Domo seem to be ? 

[Major Dom* 
Now, then, my orders you'll receive, 
Which I prepar'd am here to give : 
New servant* a sufficient set. 






Pensate a prowedermi — 

Sia gente rresca e bell*, 

Tale da farci onor. 
Pat. [A Norina, con rabbia.] 

Poi quando avra finito — 
Nor. Non ho finito ancor. 

\M Mogpswtbme. 

Dei legni an pajo sia 

Stasera in scuderia : 

Qaanto ai cavalli poi, 

Lascio la scelta a voi. 

La casa I mal disposta, — 

La vo rifar di posta : 

Sono anticaglie i mobili — 

Si denno rinnovar. 
Pa*. [Con rabbia ooruentrata. ] 

Avete ancor finito * 
Nor [Seocamente.] No ! [AI Maaptordomo. 

Mi scordavo ii meglio — 

Fate le cose in regola, — 

Non ci facciom burlar. 
[D*un cenno congeda U Maggtordoimo cm part* cm 


Pms, Grazie ! 

Chi paga ? 
Nor. Oh bella, voi ! 
Pat. A dirla qui fra noi, 

Non pago mica ! 
Nor. No 1 

Pat. [Riscaldato.] Sono, o non son padrone * 
Nor. [Con forza.] 

Padrone ! ov'io coraando ! 
Mala. [Interponendosi a Norina.] So re 11* — 
Nor. Or or vi mando. 

j A Don Pasquale, em furtA ermemtu. 

Siete un villano, un tanghero ! 
Pat. [Con dispetto.] E vero — v'ho sposato ! 
Nor [Come sopra.] Un pazzo temerario. 
Mala. [A Don Pa$quale, che tbuffa.\ 

Per carita, cognato. 
Nor. Che presto alia ragione 

Rimettere sapro. 
Put. [E fuori di se, vorrebbe e non put pmrian, it but P 


Son tradito, calpestato, 
Son di riso a tutti oggetto ; 
Quest' inferno anticipate, 
Non lo voglio sopportar * 
Dalla rabbia e dal dispetto 
Sto vicino a sofFocar ! 
Nor. [A Ernesto.] Or t' avvedi, core ingr*», 
Che fa ingiusto il tuo sospetto : 
Solo amor m' ha consigliato 
Questa parte a recitar. 

[Accennando Don Pamruai*. 
Don Pasquale, poveretto, 
E vicino ad affogar ! 
fen. [A Norina.) Sono, o cara sincerato : 
Momentaneo fu il sospetto. 
Solo amor t' ha consigliato 
Questa parte a recitar. 

[Accennand* Do* PasouaU. 
Don Pasqaale, poveretto, 
E vicino ad affogar ! 
MtJa. [A Don Pasquale.] Siet e un poco riscaldaio — 
Don Pasquale, andate a letto. 

[A Norina, com n mpr o v m r o. 
Far soprusi a mio cognato, 
Non lo voglio sopportar : 
[Agii Amanti, coprendoli perch* Don Patquai* mm k 

Bethink yon, you for me must get- 
Servants young — good-looking, too, 
That may do us honor due. 

Pot. [In a rage.] 

When you've finish'd, you'll permit — 

Nor. I've by no means finish'd yet. 

[To the Ma)* -Dmmt 

Of carriages, mind, two at least 

This eve must in the coach-house be : 
As for the horses and the rest, 

I shall leave the choice to thee. 
The house most vilely is arrang'd, — 
I'll alter it now I'm located : 
The furniture is antiquated — 
All must instantly be chang'd. 
Pa*. [ With concentrated rage.] 

Have you done, or have you not ! 
Nor. [Snappishly.] No! [To the Majm Dmmt, 

The chief thing I'd forgot — 
Do all things in the greatest style, — 
We must not have the vulgar smile. 
[She dismisses the Major- Domo by a gesture — k* fom ojf 
with the Servants. 
Pa*. Thanks ! 

But who's to pay — say who ? 
Nor. Excellent indeed ! — Why, you ! 
Pa*. If I the truth must let you know, 

I will not pay a farthing ! 
Nor. ' *No? 

Pa*. \ With heat.] Am I or not the master here 1 
Nor. [Energetically.] 

Master where I command ! you jeer ! 
Mala. [To Norina.] Sister — 
Nor. We'll by and by confer. 

[To Don Pasquale, with grounm, f—y 
You are a clown, a clodpole, sir ! 
Pa*. [Bitterly.] That's very true — I've married yoa ! 
Nor. [A* be) 'ore.] Madman rash, and stupid too. 
Mala. [To Don Pasquale, who is foaming with rags.. \ 

ferother-in-law, a word in season. 
Nor. Whom very shortly to his reason 

I know a way again to bring. 
Pas. [In a transport of passion, tries to speak, but commit, mm 
rage suffocating him.] 
I am betray'd, trod down and beat, 
A laughing-stock to all I meet ; 
This Tartarus, before its time, 
I'll not support — what is my crime ? 
Oh 1 with mingled rage and spite 
I am suffocating quite ! 
Nor. [To Ernest.] Now you see, ungrateful heart, 
How unjust was your suspicion : 
Love, to bring him to submission, 
Counseled me to play this part. 

[Point* to Don PamfuaU 
Don Pasquale, poor dear wight, 
Is nearly suffocated quite ! 
Em. | To Norxna.] I am justified, dear heart ; 
Momentary my suspicion. 
Love, to bring him to submission, 
Counsell'd thee to play this part. 

[Point* to Don Pamtumst 
Don Pasquale, poor dear wight, 
Is nearly suffocated quite ! 
Mala. [To Pasquale.] You're a little heated, real y — 
Do go to bed, dear Don Pasquale. 

[To Norina, in a torn* %f nprvqf 
On my brother-in-law to play 
Thus, I'll not endure, I say ! 
[To the Lovers, who are standing to that Dmm Pmtomm 
mux*} not see them. 

Don pasquaix 


fUgttnacci, ma eospetto, 
Non vi state a pates ar ! 

runt dkix' atto ii. 

8UI7 chits ! for Heaven's sake, pray, 
Don't, I beg, yourselves betray ! 



iCENA I — Sola in Casa di Don PasquaU, come aW Atto 
I. — Spar si sui Tavoli, sulle Sedie, per Terra, articoli di aba 
gliamento Femminik, Abiti, Capelh, Pelliccie, Sciarpe, Mer- 
letti. Cartoni, Sfc.—Don Pa 'quale seduto nella massima cos- 
ternazione davanti una Tavola piena zepva di Litte e Fat- 
ten. — Varii Servi in attenzione. — Dau' Appartamento di 
Norina esce un Parrucchiere can Pettini, Pomate, Cipria, 
Ferri da Arricciare, <Jr., attraversa la Scena, e via per la 
porta di mezzo. 

Cameriera. [Facendosi sulla porta dell' Appartamento di No- 
rina ai Servi.] 

I diamanti presto, presto ! 

Un Servo. [Annunciando.] La Scuffiara! 

S a Cameriera. Vonga avanti. 

[La Scuffiara portando un monte di carloni men* intro- 
dotta neW Appartamento di Norina. 
8 a Cameriera. [Con pelliccia grande, mazzo di fiori, boccetu 
d' odore, che consegna a un Servo. J 
la carozza tuito questo. 
4 a Cameriera. 

II ventaglio, il velo, i guanti. 
5th Cameriera. 

I cavalli sul momento. 
Ordinate d* attaccar * 
Pat. Che marea — che stordimento 
E ana casa da impazzar. 
[A misura che le Carneriere danno gl' ordint di mrpra, 1 
Servi eseguiscono in fretta : ne name* t m mbu w U e 
Pm. [Esaminando le note.] 

Vediamo — alia modista: 

Cento scudi— obbligato ! Al carroaiere : 

Sei cento ! Poca roba ! 

Nove cento e ciaqaanta al gio j elliere. 

Per cavalli — 

[Getta le note cm stixxa « n aim* 
Al Demooio ! 
I cavalli,*! mercanti, e il matrimonio ! 

Che cosa vo ra dir questa gran gala * 
Escir sola a quest' ora — 
Un primo di di aozze ! 

Debbo oppormi a ogni modo ed impedirlo ; — 

Ma — si fa presto a dirlo ! 

Colei ha certi occhiacchi ; 

Certo far da regina. 

Ad ogni modo 

Vo provarmi : se poi, 

Falhsce il tentativo ! Eccola ! 

A noi! 

SCENA II.— Nohina e Dow Pabquax* 

Norina entra correndo, e senza badare a Don PasquaU fa per 
E' vestita in grandissima gala, ventaglio in mana. 

Dove corre in tanta fretta, 
Sigtorina, vorria dirmi ? 


SCENE I. — A Room in the House of Don PasquaU, at tn 
Act I. — On the Tables, Chairs, and Ground, are tprrad 
different articles of Female Dress — Gowns, Hats, Pelittet 
lined with Fur, Sashes, Bandboxes, Sfc. — Don PasquaU it 
seated in the utmost consternation before a Table covered with 
Bills and Invoices. — Several Servants are in attendance — 
A Hair-dresser, with Combs, Pcmatum, Curling- Irons, 
comes out of Norina's Apartment, crosses the Stage, and 
goes off" through the door in the centre. 

Lady's Maid. [Speaking to the Servants from the doot oj 
Norina's apartment.} 
The diamonds, the brilliants — here, quick, quick! 
Serv. [Announcing.] The Milliner ! 
id Lady's Maid. Directly show her in. 

f The Milliner, carrying a number of Bandboxes, is shown 
into Norina's Apartment, 
id Lady's Maid. \ With a large furred pelisse, a boquet, m 
smelling-bottle, which she gives to a Footman. 
You in the carriage will put all these things. 
Uh Dady's Maid. 

The fan, the veil, and, Vye hear, the gloves. 
Uh Lady's Maid. 

Order the horses — do not lose a moment. 
Let them directly be put to, d'ye hear ? 
Pas What an overwhelming tide — what a wild hubbub ! 
This is a house enough to drive oue mad. 
[In projxjrtion as the Maids give orders as above, the Foot- 
men execute them in haste : this causes great tuwma 
and confusion. 
Pas. [Examining the bills.] 

Now, let us see— what have we here? First, tht 
milliner : 

A hundred crowns — obliged ! The coachmaker 
Six hundred ! Very good — 'tis quite a trifle I 
Nine hundred, then, and fifty, to the jeweller. 
For horses — 

[He throws the bills away with annoyance, and r\tm 
To the Devil I'll pitch all ! 
Horses, and tradesmen — ay, and matrimony ! 


What can you think of these great preparation« * 

To go out by herself at such an hour — 

The very first day of her nuptials, too JL 

I should" oppose it every way, prevent it ; — 

But — that s a very easy thing to say ! 

She's certain threat ning glances, scornful flasho*. 

A mighty way of playing the imperial. 

Let me arouse myself ! By every means 

I'll try conclusions with her : if, then, 

The attempt should fail ! Ah 1 here the comet 1 

Now for it ! 

SCENE n.— Nomina and Doit Pasqual* 

Norina enters hastily, in full dress, with a Jan in w 
She is going out without noticing Don PasquaU. 

Pns. Prithee, where are you running in such haste, 
Young lady, may I beg you will inform m* * 


Nor. E ana cob* presto detta : 

Vb a teatro, a divertirmi. 
Pat. Ma il marito— con sua pace — 

Non voler potria talvolta. 
Nor. II marito vede e tace. 

Quando parla, non s'ascolta. 
Pas [Car bile crescente.] 

A non mettermi al cimento — 

Per suo bene, la consiglio — 

Vada in camera al momento — 

Ella in casa resteru- 
Nor. ( Con aria di motteggio.] 

A star cheto e non far scene 

Per mia parte la scongiuro, 

Vada a letto, dorma bene — 

Poi doman si parlera. [ Va per utcirt. 

Pot. [Interponendosi fra hi t La porta.) 

Non si sorte ! 
Nor. [Ironica.] Veramente ! 

Pat. So no s tan co 
Nor. Sona stnfa 

Pa*. Civettella ! 
Nor. [Con gran colore ] lmpertinente ! 

Prendi su che ben ti sta ! 

[ QU da urn tchiaffo. 

Poo. Ah! 

(E finita, Don Pasquale ! 
Pin non romper ti la testa ; 
II partito che ti resta, 
E d' andarti ad annegar.) 
Nor. (E dnrretta la lezione ; 

Ma ci vuole a far 1'effetto ; 
E bisogna del progetto — 
La riuscita assicorar. ) 

[A Don Patquale. 

Parto dunque — 
Pa*. Parta pore ! 

Ma non faccia piu ritorno. 
Nor. Ci vedremo al nuovo giorno. 
Pm. Porta chiusa troveri. 

Nor. Oh ! that's a thing that very soon i§ told : 
I'm going to the theatre, to divert me. 

Pat. But the husband, with your leave — excuse tee 
Saying so — may perchance object to it. 

Nor. The husband sees, and wisely holds his tongue : 
For when he speaks, there's no one listens to him 

Pat. [With rising warmth.] 

Not to put me to the trial, Madam — 
It is for your own good that I advise you — 
You'll to your chamber go — this very moraenv- 
Remain content at home — stay in the house 

Nor. [ With an air of banter.] 

To keep the peace, and not create a scene, 

I, for my part, conjure you earnestly 

To go to bed, and there seek tranquillity — 

We will talk over this affair to-morrow. { Gotmf 

Pat. [ Getting between her and the door.] 
You do not go out, Madam ! 

Nor. [Ironically.] Don't I, really ! 

Pat. I am quite tired of this. 

Nor. I've had enough of it. 

Pat. Shameless coquette ! 

Nor. [ With great heat.] Why, you impertinent ! 
But there — take what you well deserve, sir ! 

[Boxes hit ear. 

Pat. Ah ! 

ilt is all over with you, Don Pasquale ! 
)on't further trouble your poor head about it ; 
For all that now remains for you to do 
Is quietly to go and drown yourself.) 
Nor. (I must confess, 'tis rather a hard lesson ; 
Yet 'twas required to have its due effect. 
But we must now take care of our project — 
The consummation and success secure.) 

[To Don PamptaU 

I'm going, now, then — 
Pat. Oh yes, certainly ! 

But do not take the trouble to return. 
Nor. Oh ! we shall see each other in the morning. 
Pat. A face of wood — a closed door, you will find. 


no rl - 
gent, and 

la spo - sa ver 

pour wife will en 

ra va 

gage; Go, 

va - - vaa let - to bil non 
go to bed, dear grand-dad 

no sia che - to il tuo son 
dy, keep quiet and stea 

no per 
dy, in 


tern - po a nt - gliar 
good time to call. 

u la spo - sa 

yom your wife wiM 




Pms. Divorrio 1 divorzio ! 

Che letto — che sposa ; 
Peggiore consorzio, 

Di questo noa v* ha ! 
Ah, povero sciocco ! 
8e duri in cervello— - 
Con questo martello — 
Miracol sara ! 

[NelT otto di partirt. Norma Latcia cadero una aorta ; 
Don Pasquale se ne avvede e la racooglie. 
Pms. Qualche nota di cuffie e di merletti, 
Che la Signora semina per casa. 

[La spiega e legg: 
" Adorata Sofronia — " [Nella massima ansxetd. 

Ehi ! ehi ! che affare e questo 1 [Legg*. 
"Fra le nove e le dieci del la sera 
Sard dietro al giardino : 
Dalla parte che guarda a settentrione ; — 
Per maggior precauzione 
Pel piccolo cancello. A noi ricetto 
Daran securo 1' ombre del boschetto. 
Mi scordavo di dirti 

Che annunziero cantando il giunger mio : 
Miraccomando — il tuo fedele ; — addio " 
Pm. [Fuoridise.] 

Questo e troppo ; costei 

Mi vuol morto arrabbiato ! 

Ah ! non ne posso piu — perdo la testa ! 

[Scampanellando. At tervi che entrant). 
Si chiami Malatesta, 
Correte al Dottore : 
Ditegli che sto mal, che venga tosto, 
O crepare e finirla 

Ad ogni costo — [Don Pasquale etc*. 

SCENA III.— Entra Coro di Servi e C. 





Che interminabile — and i-rivieni ! 
Noh posso regere — rotte ho le reni ! 
Tin-tin di qua, ton-ton di la, 
In pace un attimo, mai non si sta : 
Ma casa buona, montata in grande, 
Si spende, e spande, — v' e da scialar. 

Finito il pranzo vi fur on scene 1 
Comincian presto — contate un pi) — 
Dice il marito, " Restar conviene ;— ' 
Dice la sposa, " Sortire io vb !" 
II vecchio sbutTa, segue baruffa — 
Ma la sposina I' ha da spuntar — 
V e un nepotino guasta-mestieri — 
Che tiene il vecchio sopra pensieri — 
La padroncina e tutta foco — 
Par che il marito lo conti poco ; 
Zitto, prudenza, alcun qui viene ! 
Si stara bene — v' e da scialar. 


SCENA IV.— Malatesta ed Ernesto, sul limitare ddla 

Mala. Siamo intesi ? 

Em. Sta bene,— ora in giardmo 

Scendo a far la mia parte. 
Mala. Mentr' io fo qui la mia ; 

Sopratutto che il vecchio 

Non ti conosca ! 
Em. Non temer ! 

Mala. Appena 

Venir ci senti, — 
Em. Su il mantel k> e via ! 

Mmlm Ottimament*' 

Pat. Divorce me ! Divorce me 

What a match — what a wife she ; 
I'm sure a worse consort 
Than this, never was ! 
Ah, poor ninny-hammer! 
If your brain stands this clamor — 
Worse than e'en pavior's hammer — 

'Tis a miracle, pos ! [Exit tVortiw 

[In the act of departing, Norina let* a paper drip , / 
Pasquale perceives it, and picks it up. 
Pas. One of the bills, no doubt, for caps and '»re«, 
The lady likes to sow about the house. 

[Opens anu eadt 

" Adored Sophronia — " [In the greatest anxiety 

Halloa ! halloa ! Eh ! what affair is this ? [Reads 
u Between the hours of nine and ten this evening, 
I shall be at the bottom of the garden — 
That side of it that looks out on the north, 
For greater — more complete precaution's sake, 
By the small grated gate. There we'll embowerM 
Find safety in the shadow of the wood. 
I had forgot to tell thee, dearest love, 
'Tis in a song I shall announce my coming : 
Thine to command — thine faithfully ; — adieu." 
Pas f Unable to govern himself.] 

This is too much ; 'tis very plain this woman 
Wishes to make me die stark staring mad ! 
Oh ! I can bear no more — I lose my senses 1 

[Ringing hand-bell loudly. To Servants, who «asr 
You'll hither instantly call Malatesta : 
Run with the speed of lightning to the Doctor , 
Tell him I'm ill, that he must come here quickW 
Or either I must choke or stop this — 
Cost regardless — [Exit Don Pamp»u* 

SCENE III.— Enter Footmen and Waiting-maids. 

Omnes. What endless going there and coming here ; 
'Tis insupportable— one's back is broken ! 
Nothing but ding-ding here, and ding-ding there ; 
In peace they'll not a moment let us stay : 
But still, 'tis a good house — all's rirst-rate style ; 
Spend here, spend there, — eat, drink, and making 

Women. The dinner over — Oh, there were such scenes ! 
Men. They began early — let us hear a bit — 
Women. "Now," said the husband, "you must stop •» 
home ; — " 

Said the wife firmly, " Sir, go out I will!" 
Men. The little wife will conquer in the end — 

There is a certain marplot of a nephew — 
Women. Who discomposes much the old man's mind — 
Men. Out little mistress is all fire and f y — 
Women. It seems she don't account her husband much ; 
Omnes. Hush, hush, be prudent ! there is some one coming 
All will be well — there's plenty to regale us. 


SCENE IV.— Malatesta and Eknkst at the door. 
Mala. 'Tis understood ? 

Em. All's right — soon to the garden 

I shall repair ; — repair, to play my part. 
Sfala. While on my part 1 stay hero to play mine ; 

But, above all, mind — don't lei the i Id gentleoiai 

Discover you 
Em Don't nc- afraid ! 

Mala Directly 

You hear us come, 
Em. On with the cloak, and ?fi I 

Mala Most capital ! 


Em. A rivederci ! [Ernest esce. 

Mala. lAvanzandosi.] Questa 

Repentina chiamata 

Mi prova che il biglietto, 

Del convegno notturno, ha fatto effetto. 

[ Guarda Jra ie Seen* 

Eccolo ! com' e pallido, diraesso ! 

Non senibra piu lo stesso. 

Me ne fa male il core ; — 

Ricomponiamci un viso da dottore. 


■Don Pasqualb, abbattutissimo tf mottra len- 


Mala. ULndandogli incontra.) 
Don Pasquale — 

Pas. [Con tristezza solenne.] 

Cognato, in me vedete, 
Un morto che cammina ! 




Non mi fate 
Che fu 1— parlate ! 


M Oa 


[Senza badargli e come parlando a se steuo. | 
Pensar che per un misero puntiglio 
Mi son ridotto a questo ! 
Mille Norine avessi dato a Ernesto ! 
(Cosa buona a sapersi.) 
Mi spiegherete alfin? 

Mezza 1' entrata 
D' an anno in cuttie e in nastri consumata 
Ma questo e nulla — 

E poi« 

La signotina 

Vuol escire a teatro : 
M' oppongo colle buone. 
Non intende ragione — e son deriso. 
Comando : e della man mi da sul viso ! 
Uno schiaffo ! 

Uno schiaffo ! si, Signore ! 
Ma questo e nulla : v' e di peggio ancora. 
Leggete ! 

[Porge la lettera al Dottore, che veggt dando ttgni di tor- 
presa crescents Jino all' orrore. 
Mala. Io son di sasso ! 

Pas. [Riscaldandosi.] Corpo d' un Satanaaso ! 
Voglio vendetta ! 

E gusto. 


Sta in noi. 


Ascoltate ! 

Ho un mio ripiego ; ma sediam. [Susdcmo. 

Parlate ! 

Cheti, cheti, immantinente, 
Nell giardino discendiamo ; 
Prendo meco la mia gente, 
11 boschetto circondiamo ; 
E la coppia sciagurata, 
A un mio cenno imprigionata, 
Senza perdere un momento : 
Conduciam dal podesta. 
Che vi par del pensam 
Parlo schietto, non mi 
Riflettete, la colpevole 
M' e sorella, e moglie vostra : 
Ah non stiamo I' onta nostra 
Su pei tetti a divulgar. 
Espediente piu a proposito, 
Procuriam d' immaginar. 
Io direi, sentite un poco. 
Noi due soli andiam sul loco : 
Nel boschetto ci appostiamo ; 





A S. 


Srn. Until we meet, adieu ! [Exit Emem 

Mala. [Coming forward.] This 

Sudden, though not unexpected summons, 

Proves very clearly to me, that the billet 

Of this night's assignation has been swallowed. 

[Looks *Jf 

He's here ! how pale and 'Woe-begone he looks ! 
He seems not the same man he us'd to be. 
I vow it cuts me to the very heart ; — 
Let me resume my proper doctor's face. 

SCENE V. — Don Pasqualb, excessively dispirited and oa» 
down, enters, and advances slowly. 

Mala. [Going to meet him.] 

My best of friends and patients, Don Pasqnaie- — 
Pas. [ With solemn grief-} 

Brother-in-law, in me, alas ! you see 

A dead man, walking upright ! 
Mala. Do not keep me 

In dr«ad suspense. What can have happen'd f~ 
speak ! 

Pas. [ Without attending to him, and speaking to himself. } 

To think that for a poor punctilio 

I am redue'd to such a state as this ! 

A thousand Norinas I'd have given Ernest ! 
Mala. (That's a good thing to be acquainted with.) 

Will you explain, at last ? 
Pas. Half the whole income 

Of a year in caps and ribbons gulph'd up ! 

But that is nothing — 
Mala. What more? 

Pat. The young lady 

Chooses, forsooth, to go to the theatre : 

This I oppose, but with the greatest mildness. 

She won't hear reason — I'm a laughing-stock. 

I then command : she strikes me on the face ! 
Mala. A blow ! 

Pas. A blow, sir ! — what do you think of that 1 

But that is nothing : there is worse behind. 

[ Gives the letter to the Doctor, who makes signs of *t# 
prise, increasing even to horror. 

Mala. I am fairly petrified, turn'd stone I 

Pat. By all that is infernal ! Satan's body! 
I swear I'll have a terrible revenge ! 

Mala. It is but just you should. 

Pat. To secure it, 

Rests with ourselves. 

Mala. How ? 

Pat. Listen, listen, Doctor ! 

I have a plan ; but let us sit down. [1^*9 ** 

Mala. Speak ! 

Pat. Softly, friend, softly ! This hour, immediately, 
We to the garden will forthwith proceed : 
I will take with me all my people. 
The little woody arbor we'll surround ; 
And the vile culpable unlucky couple 
Are, at a signal I shall give, imprison'u 
Without a single moment being lost ■ 
Before the magistrate we then will take them. 
Now, of this scheme of mine what think you ? 

Mala. Why, to speak frankly, I do not quite agree. 
Reflect, this most abandon'd, guilty one, 
Unhappily's my sister, and your wife : 
Let us not give the means by which our shame 
May from the very house-tops be proclaim'd. 

both. A more expedient, likely proposition, 

We must try somehow, if we can't devise. 

Mala. I should say, let us consider a little. 

We two alone will go straight to the place 
There, in the little wood, let's post ourselves , 



A so : /dm po ci mostriamo ; 

E tra preghi, tra minaccie — 
D' avvertir I' autorita — 
Ci facciam dai due promettere 
Che la tresca ha fine la. 
Don Pasquale che vi par ? 
Pa*. [Alzandosi.] Perdonate, raon pub star; 
E' sifFatto scioglimento, 
Poca pene al tradimento ; 
Vada fuor di casa mia, 
Altri patti non vo' far. 
A. 8. E'*un aflfare delicato, 

Vuol ben esser ponderato, 
La prudenza col rigore 
Qui bisogna consiliar. 
Mala. [A un tratto.] L' ho trovata ! 
Pa*. Oh benedetto 1 

Dite presto. 
Mala Nel boschetto 

Quatti, quatti, ci appostiamo, 
Di la tutto udir possiamo, 
S' e costante il tradimento : — 
Su du pie' s' ha da cacciar. 
Pa*. Son contento — va benone ! 
Mala Ma con patto e condizione, 
Che 1' intento ad ottenere — 
M' accordiate di potere 
Fare e dire a norae vostro 
Tutto quello che mi par * 
Pa*. Carta bianca vi concede, 
Fate pur quel che vi par : 
Aspetta, aspetta, 
Cara sposina, 

La mia vendetta r 

Gia' s' avvicina, 

Gia' gia' ti preme : 

Gia* t ha raggiunto, 

Tutte in un punto ! 

L' hai da scontar — 

Vedrai se giovino, 

Raggiri e cabale — 

Sorrisi teneri — 

Sospiri e lagrime — 

La mia rivincita, 

Mi voglio prendere ! 

Sei nella trappola ! 

V hai da restar ! 
Mam A parte.] II poverino ! 

Sogna vendetta ; 

Non sa il meschino — 

Quel che 1' aspetta ! 

Invano freme ; 

Invano arrabbia — 

E' chiuso in gabbia ! 

Non pub scappar ! 

Invano accumula, 

Progetti e calcoli ; 

No sa che fabbrica 

Castelli in aria : 

Non vede — il semplice — 

Che nella trappola, 

Da se medesimo 

Si va a gettar. [ Escono insume. 

SK KNA VI.— Ernesto e Coro di dentro. Boschetto nel 
parditto attigao olla casa di Don Pasquale da un lata gra- 
iitnaia che un dalla casa mette in giardino doll' altro can- 
cxilo ae* giardino. E notte. 

Then, at the proper time, come forth ; 
And what with supplications and with menace* — 
That we'll inform th' authorities of all — 
Perchance we may induce them both to promise 
That this false step shall end for ever there. 
Now, Don Pasquale, what do you think of that 1 
Pa*. [Rising.] Pardon me, Doctor, but this cannot be 
Such a get-off as would be this conclusion, 
Would be but little punishment for such treachery 
She shall go out for ever from my house ! 
Save this condition, none else will I make 
Both. It is a delicate affair, 

And requires deliberation : 
Prudence, with rigorous degradation, 
Here must be combin'd with care. 
Mala. {Suddenly.] Eureka! I have found it ! 
Pas. Oh, bless'd heaven ! 

Tell me directly. 
Mala. In the little wood 

Quietly, quietly, we will post ourselves, 
Whence we may hear what passes, and judge 
If real bond fide is this treachery : — 
When I will instantly discard her. 
Pas. 1 am contented — 'tis the very thing ! 
Mala. But with this compact, and with these conditions 
This most desirable object to obtain — 
That you shall fully grant me the power 
Of doing, and of saying, in your name, 
All things, I in my judgment may think fit ! 
Pa*. A carte blanc I willingly will give you, 
Do all and singular that you think best : 
Wait, wait, 
Dear little wife, 
I soon reveng'd will be : 
E'en now 'tis near, my life, 
The Fates press hard on thee : 
Now, now, it reaches thee, 
This night, without delay, 
Thou must the reckoning pay ! 
Thou'lt see what little use 
Now will be each excuse — 
Useless thy tender smiles, 
Sighs, and tears — and wiles — 
All I have now at stake, 
Conquer'd, again I'll take ! 
Thou'rt in the trap — hurrah ! 
There thou wilt have to stay ! 
Mala. [Aside.] Oh, the poor fellow! 

Vengeance he's prating ; 

Let the dolt bellow — 

He knows not what's waiting f 

Vain's all his fretting now ; 

Rage in vain ape — 

He's a cage shut in now — 

Cannot escape ! 

Vain he accumulates, 

Projects, and calculates , 

He knows not he is building rare 

Castles in the empty air : 

He sees not — the simpleton — 

That in the trap, poor elf, 

He of his own accord 

Now goes to throw himself. [Exeunt together 

SCENE VI. — Ernest and Chorus within a small wood i> 
the garden, adjoining Don Pasquale' s house. On one tud* a 
fiight of steps, leading from the house ; on the other the $rufc* 
gate of the garden. It is night. 



Com' e gen • til, 
Oh! Summer night, 

la not-te a mezzo April, • 
Thy tran-quil light 

E azzur-ro il ciel — 
Was made for those.. 

la la • nae sen • za 

who shun the bu - sy 

rel : Tut-t'e lan - guor. 

day, • Who love too well, 

Pace, miste-ro, a - mor 
Yet blush to teV 

Ben mio, per-ch6 ancor-— non viene i 
The hopes that led their hearts a 


For - ma - no 
All now is 



D'a - mor-e ac - cen 
On dale, on hiU, 

Del rio nel raormorar, 
And none are nigh, 

Sos - pi - ri 
With curious 


ti Ben mio per - che, 
Tlien why, my love, 

anuor non vie nl a - 
oh, why de - 

me? Per - che, per - che, non vieni a me? Poi qnando 

lay t Then why, my love,..-* nh. whv de - lav t Your lat~tia 


a • me ? 
de - lay? 

Poi qnando sa - rd 
Your lat - tice o - pen 

-j— ^ =I — *-k--*— * — i p-f-p I T - r-"j- 1 | *-f- *-r-^ - .- 7 --P 

mor - to, . • 

pian-ge - ra • i 
star - ry night, 

0 -0 

Ma - ri - chia mar-m'in - vi - ta - - - non po - trai. . . . 
And with your presence make the world more bright. 

Nina crodel, mi vnoi veder morir 1 
Poi qnondo sard morto piangerai, 
Ma ritornarmi in vita non potrai. 
Coro. [Di dentro.] Poi qnando sara morto, piangerai, 
Ma ritornarmi in vita non potrai. 
\Norina esce con precauzione dalla casa e va ad ajtrire ad 
Ernesto, che si mostra dietro il cancello. Ernest e 
iwolto in un mantelh, che lascera cadere. 

Crnel Norina, would you see me die ? 
When I am dead, you'll haply for me weep, 
But back to life you could not then restore me! 
Omnes . When he is dead, yDu'll haply for him weep, 

But back to life you could not then restore him ! 
I Norina comes cautiously out of the hoitse and o/>ens Urn 
gate for Ernest, who is seen behind it Ht is wrap- 
ped in a mantle, which he lets tall. 

TORNAMI A DIR — TELL ME AGAIN. Duet. Ernest and Norina. 

na - mi a dir che m a 
me a - gain thou lov'st 



mi che rai - o tu se 
me that thou art mine, dear 



na - mi a dir che m'a - mi, 
me a - gain thou lov'st me. 

Dim - mi che mi - o tu se 
TeU me that thou art mine, dear 



Quan - do tuo ben mi chia - - mi, 
When, love, thou call'st me thine ^ own, 

La v\ - ta ad - dop - pi in me. 
It makes my life dou - ble ap - pear. 


V — -— 
Quan - do tuo ben mi chia 
When, love, thou call'st me thine 

La vi - ta ad - dop - pi in me. 
It makes my life dou - ble *p - pear. 


so il co - re op - pres 

cheer • ing, my bo 

som chet 

so, Se 
ing, I 

cnra a 

fran - ca il co - re op - pre* 
sweet sounds my bo som cheer 

so, Se 
ing, I 

cnra a 
trem - bis 

te d'ap-pres - so, 
when thou'rt a - way, dear 


But joy re - turns when thou art near, 

te d'ap-pres - so, 
when thou'rt a - way, dear, 

Tre - mo Ion - tan da - te . 
But joy re - turns when thou art near, 

t=p — * b l i — 52=3-i tz 

se cu. a a te d'ap - pres - so, 

I.... tremble when thou'rt a • way, dear 

se - cura a te d ap - pres - so, 
/. . . . tremble when thou'rt a - way, dear 

mo Ion - tan da te. 
returns when thou art near. 

mo ion - tan • da te. 
joy returns when thou art near. 

[Si vedono Pasquale e il dottore, muniti di lanterne, sorde 
entrar pian piana nel cancello : si per dono dietro agli i 
alberi per ricomparire a suo tempo. 

Nor. [Sommessamente .] Sento rumor ! 

Ern. Son dessi! I 

Nor. Comincia I' ultim' atto— 

Ern. Se perder ti dovessi ! 

Nor. Fa cor, t' amda in me. 

[Pasqrude and the Doctor, furnished with dark lanterns, 
are seen to enter softly at the grated door : they disap 
pear behind the trees, but reappexir at the right moment. 
Nor. [ Very low. | I heard a sound approaching ! 
Ern. Ah ! 'tis they ! 

Nor. Let us begin, dear Ernest, the last act — 
Ern. If I should have to lose thee, after all ! 
Nor. Take heart — love is our friend, trust all to me 


[Merit re Don Patquale e il dottore ri compariacono Er- 
nesto riprende mantello, e si scosta alquanto da No- 
rina nella direzione delta casa di Don Pasquale. 

Pas. Eccoli ! Attend ben ! 

Mala. M' raccomando ! 


Pas. [Sbarrando la lanterna in volto a Norina.] 

Alto 1* ! 
Nor Ladri, ajuto ! 

Pas [A Norina.] Zitto ! Ov' e il drudo « 
Nor. Chi? 
Pas. Colui che stava 

Con voi qui amoreggiando — 
Nor. [Con risentimento.] Signor mio ! 

Mi meraviglio qui non v' era alcuno ! 
Mala. (Che faccia tosta !) 

Pas. (Che mentir sfacciato!) 

Sapro ben io trovarlo. 
[Don Pasquak e il dottore fanno indagini nel boschetto. 
Ernest entra pian piano in casa. 
Nor. Vi ripeto, 

Che qui non v' era alcun, che voi sognate. 
Mala. A quest ora in giardin che facevate ? 
Nor. Stavo prendendo il fresco. 
Pas. H fresco! [Con esplosione.\ 

Ah, donna indegna ! 

Fuor di mia casa ! — o ch' io ! — 
Nor. Ehi ! ehi ! Signor Marito — 

Su che tuoti la prendete 1 

Pas. Escite e presto ! 

Nor. Nemmen per sogno ; e' casa mia — ri res to. 
Pas. Corpo di mille bom be ! 
Mala. Don Pasquale, 

Lasciate fare a me ; solo— badate— 
A non smentirmi : — ho carta bianca ! 
Pas. E inteso. 
Nor. (II bcllo adesso viene.) 
Mala. [A Norina piano.] 

(Stupor misto di* sdegno, — attenta ben©—) 
Sorella udite, io parlo 
Per vostro ben : vorrei 
Risparmiarvi uno sfregio — 
Nor. A me uno sfregio 1 

Mala. (Benissimo !) Domani in questa casa, 

Entra la nuova sposa. 
Nor. | Come sopra.] Un altra donna ! 

A me simile ingiurla ? 
Mala. (Ecco il momento di montare in furia.) 

[Don Pasquale tien dietro al dialoga con grand* inte- 

Nor. Sposa di chi '( 

Mala. D' Ernes to ; — la Norma. 

Nor. [Con disprezzo.] 

Quella vedova scaltra ;— e civettina 1 
Pas. [Al Dottore.] Bravo, Dottore! 
Mala. ( Siamo a cavallo ! ) 

Nor. Colei qui a mio dispetto ! 

Norina ed io sotto r istesso tetto ! 

[Con forza. 

Giammai ! piutosto parto ! 
Pas. Ah, lo volesse il Ciel ! 
Nor. [Cambiando modo.] 

Ma — piano un poco. 

Se queste nozze poi fossero un goico I 

Vo' 6incerami pria. 
Mala. E giusto. — [A Don Pasquale.] — Don Pasquale non 
c' e via ; 

Qui bisogna sposar quei due dawero 
Se no costei non va. 

[ When Don Pasquale and the Docti t re-appear, Ermm 
cloaJcs himself, and, leaving Norina, returns toward* 
the house of Don Pasquale. 

Pas. They're here ! Mark well ! 

Mala. Heaven, I commend me to thee ! 

SCENE VII.— Dow Pasquale, Malatbsta, amd ike 


Pas. [ Unmasking the lantern full in Norina's face.] 

Halt there ! Hold, Madam ! 
Nor. Ah, thieves ! thieves ! — help ! help ! 
Pas. j To Norina.] Peace ! Where's the lover * 
Nor. Who ? 

Pas. Why, he who was 

Here but this very moment — making love — 
Nor. [Offended.] Who, sir? 

I am amazed — there was nobody here ! 
Mala. (What a quick change !) 

Pas. (What an audacious falsehood !) 

Oh ! I know well how I can find the gentleman. 
[Don Pasquale and Malatesta make o search among tk» 
trees. Ernest secretly enters the house. 
Nor. Doubt it ! well, I repeat it to you again, 

That there was no one here, and that you dream. 
Mala. At this hour in the garden, pray what did you * 
Nor. I was enjoying the fresh air. 

Pas. The fresh air ! [ With a burst of indignation.] Ah ! 

thou false unworthy woman ! 
Out of my house directly !— troop ! — or I — 
Nor. Heydey ! heydey ! — strong words these, Mister Hun 

band ! 

Do you take up this tone ? 

Pas. Begone, and quickly ! 

Nor. Nay, I'd a dream ; 'tis my house — I'll stay in it 
Pas. Body of a thousand bombs ! — 
Mala. Pasquale, 

Leave me to manage this ; only — take care — 
Don't interfere : — I've carte blanc ! 
Pas. 'Tis agreed so. 

Nor. (The best of all of this is now to come.) 
Mala. [To Norina, sofUy.] 

(Amazement mix'd with indignation — mind — ) 
Patiently hear me, sister, for I speak 
But for your good : believe me, I would wish 
To spare you a disgrace — 
1 Nor. [Indignantly.] Disgrace! Spare me 1 

Mala. (Most capital !) To-morrow, in this house 

Enters the new-made bride. 
Nor . [As before. ] Another lady ! 

To me such an injurious affront ? 
Mala (Now is the time to fly into a passion.) 

[Don Pasquale is behind, listening to the dialogue wtU 
great interest. 
Nor. The bride of whom ? 
j Mala. Of Ernest — his Norina ! 

i Nor. [ With disdain.] 

That cunning little widow— that coquette ! 
Pas. \ To Malatesta.] Bravo, Doctor ! 
Mala (We go as if on horseback !) 

Nor. That flirting hussy here, in spite of me ! 
I and Norina 'neath the self-same roof? 


Never ! No, sooner, first, I would depart ! 
Pas. With all my heart ! I wish to Heaven you would ! 
Nor. [Changing her manner.] 

But do not let me hurry — wait a little. 

If these same nuptials should be all a joke ! 

I must assure myself they're real first. 
Mala. 'Tis just. — | To /Mm Pasquale.] — Pasquale, there 's 
no other way ; 

So these two you must unite in good earnest 

Or she won't go. 


Pa*. Non mi par vero I 

Mai*. [Chiamando.] 

Ehi ! di casa, qoalcnno ' 

Ernesto ' 

SCENA ULTIMA.— BmratTO « 8*rr* 


Eccomi ! 

A voi ! 
Accorda Don Pasquale 
La mano di Norina, e an annuo 
Di quattrromila scudi. 

Ah, caro zio ! 

E fia ver ? 

tA Don Pasquale.] D' esitar non e pin tempo, 
)ite di si — 

M' oppongo ! 

Ed io consento ! \A Ernesto 
Corn a prender Norina : 
E d' nnirvi io m'impegno in sal moment©— 
Senz* andar lungi la spcsa e presta. 
Come ? Spiegatevi ! 

Norina e qaesta ! 
Quella ! Norina ? Che tradimento 1 
Dun que Sofronia — 

Dara in convento • 

E il matrimonio — 

Fa un mio pensiero, 
Stringerri innodo di nullo effetto, 
II modo a tarvi di fame an vero. 
E ehiaro il resto del romanzetto. 
Ah bricconissimi ! ( Vero non parmi ! 
Ciel ti ringrazio ! ) Cosi ingannarmi, 
Meritereste — 

Va siate buono ! 
Em. llnginocchiandosi.] Deh, zio, movetevi I 
Nor. \Con sopra.] Grazia ! perdono ! 
Pat. Tutto dimentico. Siate felici ! 

Com' io v' unisco ! — v' unisca il Ciel ! 










Pa*. I can't believe ray senses ! 

Mala. [Calling ] Ho, there! hous« ! house! who waits *— 
some one directly ! 
Ernest ! 

SCENE the LAST.— Ebwmt and Servant* 

Ern. I'm here ! I'm here ! 

Mala. 'Tis well ! To you 

Your uncle, Don Pasquale, kindly grants 

Norina's hand, with an allowance yearly — 

Four thousand crowns. 
Ern. Ah, dearest, best of uncles ! 

Can it be true ? 
Mala. [To Pasquale.] Too late to hesitate : 

Say yes — 
Nor. But I oppose it ! 

Pas. I consent ! [To Emm 

Run, swiftly as the wind, and find Norina : 
I to unite you undertake, this moment — 

Mala. Without you going farther, the bride's ready 

Pas. How ? Explain yourself ! 

Mala. There is Norina ! 

Pas. Eh ! that Norina ? What treachery is this ! 
Why, then, Sophronia — 

Mala. Still is in the convent ! 

Pas. My marriage, then — 

Mala. Was an idea of mine 

To bind you by a tie of no effect, 
That you might not have means to form a true oar 
The rest of the romance is very clear. 

Pas. Cozening rogue ! (Still I dare not believe it 1 
Kind Heaven, I thank thee !) To deceive n 
You merit — 

Mala. Come, now, be indulgent, sir ! 

Em. [Kneeling.] Ah, uncle, be persuaded! 

Nor. [Also kneeling.] Pardon ! pardon ! 

Pas. I everything forgive. May you be happy, 
As I unite you ! — so unite you, Heaven ! 


vel - lo 

ehi s'am • tnoglia in 
Who would mar - ry 

vecchia e ta si va a cer - car col 
when he's old, Soon hit fol - ly 


nel-lo * no se e • doglie in quan - ti - ta 

pented, and hit pa* - sion soon grow* cold— 


e see - mo 
must sure - Ijf 



-9 1 



ipfto would mar - ry when he's old, 




non e doglie, doglie e 
and his passion, and his 

quan - ti - ta, 
soon grown cold. 



La morale e molto bella, 

Applicarla a me si sta ; 
Sei pur fina o bricconcella 

M' hai servito come va. 
La morale e molto bella 

Don Pasquale l' applichera 
Quella cara bricconcella 

Lunga pin di noi la aa ! 



It is a very clever moral, 

And well enough applies to me ; 
8o, little rogue, we will not quarrel, 

Though you have used me scurvily. 
I It is a very clever moral, 
) As Don Pasquale soon will see • 
He must not with this dear rogue qu arr el 
She knows a vast deal more thau h» ! 


The Musicians Library 

CThis notable series has been planned to embrace all the master- 
pieces of song and piano literature ; to gather into superbly made 
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posers, edited by men of authority. Each volume is independent, complete in itself, 
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BRAHMS, JOHANNES. Selected Piano Compositions Raphael Joseffy 

CHOPIW, FREDERIC. Forty Piano Compositions James Huneker 

CHOPIN, FREDERIC. The Greater Chopin James Huneker 

GRIEG, EDVARD. Larger Piano Compositions Bertha Feiring Tapper 

GRIEG, EDVARD. Piano Lyrics and Shorter Compositions Bertha Feiring Tapper 

HAYDN, FRANZ JOSEF. Twenty Piano Compositions Xaver Scharwenka 

LISZT, FRANZ. Ten Hungarian Rhapsodies August Spanuth and John Orth 

LISZT, FRANZ. Twenty Original Piano Compositions August Spanuth 

LISZT, FRANZ. Twenty Piano Transcriptions August Spanuth 

MENDELSSOHN, FELIX. Thirty Piano Compositions { ; ; ^TJW^SartfcStSS 

MOZART, WOLFGANG AM ADEUS. Tv/enty Piano Compositions Carl Reinecke 

SCHUBERT, FRANZ. Selected Piano Compositions August Spanuth 

SCHUMANN, ROBERT. Fifty Piano Compositions Xaver Scharwenka 

WAGNER, RICHARD. Selections from the Music Dramas Otto Singer 

ANTHOLOGY OF FRENCH PIANO MUSIC. Vol. I. Early Composers ? T P1 ... 

Vol. II. Modern Composers) lsldor ^ nil, P p 

Morita. Moszkowski 


Vol. II. Modern Composers ) 


TWENTY-FOUR NEGRO MELODIES Transcribed for Piano by S. Coleridge-Taylor 

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The Musicians Library 

C.This notable series has been planned to embrace all the master- 
pieces of song and piano literature; to gather into superbly made 

volumes of uniform size and binding the best work of the best composers, edited by 
men of authority. Each volume is independent, complete in itself, and sold by itself. 


BRAHMS, JOHANNES. Forty Songs. High Voice. Low Voice James Huneker 

FRANZ, ROBERT. Fifty Songs. High Voice. Low Voice William Foster Apthorp 

GRIEG, EDVARD. Fifty Songs. High Voice. Low Voice Henry T. Finck 

HANDEL, GEORGE FRIDERIC. Vol. I. Songs and Airs for High Voice ) ^ ffK n„ n ,»rP m „t 

Vol. II. Songs and Airs for Low Voice J Un ^ benezer ™ ut 

JENSEN, ADOLF. Forty Songs. High Voice. Low Voice William Foster Apthorp 

LISZT, FRANZ. Thirty Songs. High Voice. Low Voice Carl Armbruster 

SCHUBERT, FRANZ. Fifty Songs. High Voice. Low Voice Henry T. Finck 

SCHUMANN, ROBERT. Fifty Songs. High Voice. Low Voice .'....W.J. Henderson 

STRAUSS, RICHARD. Forty Songs. High Voice. Low Voice James Huneker 

TCHAIKOVSKY, P. I. Forty Sengs. High Voice. Low Voice James Huneker 

WAGNER, RICHARD. Lyrics for Soprano Carl Armbruster 

WAGNER, RICHARD. Lyrics for Tenor Carl Armbruster 

WAGNER, RICHARD. Lyrics for Baritone and Bass Carl Armbruster 

WOLF, HUGO. Fifty Songs. High Voice. Low Voice Ernest Newman 

FIFTY MASTERSONGS. High Voice. Low Voice Henry T. Finck 

FIFTY SHAKSPERE SONGS. High Voice. Low Voice Charles Vincent, Mus. Doc. 

MODERN FRENCH SONGS. High Voice. Low Voice. Vol. I. Bemberg to Franck ? p,.,- „ , 

Vol. II. Georges to Widor $ ^ nilip Hale 




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Vol. II. Brahms, Tchaikovsky, Grieg Wolf and Strauss ) 

ONE HUNDRED SONGS OF ENGLAND . High Voice. Low Voice Granville Bantock 

SEVENTY SCOTTISH SONGS. High Voice. Low Voice Helen Hopekirk 

SIXTY FOLKSONGS OF FRANCE. Medium Voice Julien Tiersot 

SIXTY IRISH SONGS. High Voice. Low Voice William Arms Fisher 


SONGS BY THIRTY AMERICANS. High Voice. Low Voice Rupcii Hughes 






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Favorite Songs of Famous Singers 

Price, each, $1.25 postpaid 

My Favorite French Songs 

Books I and II 


High Voice Low Voice 

CThe great singer here gathers together her favorites among French songs — mostly modern, some 
operatic, and a few of the ultra-modern school. To these she adds a group of "Songs my Grand- 
mother sang," making a truly unique and distinguished collection. From these charming old melodies 
down to the songs of Debussy the singer indicates all that is best in the realm of French song composi- 
tion. Complete with biographical sketch with portraits and an introduction from Mme Calve's pen. 
A splendid group of songs valuable to both singers and concert goers. — BOSTON TIMES 

Books I and II 

My Favorite Songs 


High Voice Low Voie*. 

CThe favorite songs of this highly praised .L/ecfer-singer are drawn from the music of many different 
lands, from her native Holland to our own America, and including France, Germany, Ireland, etc. 
This collection is made up of such numbers as have won Mme. Culp's affection as well as proved 
their acceptability to her enthusiastic audiences, and the volume is of extraordinary interest. A charm- 
ing introduction from the singer's own pen and portraits enrich the book. 

The triumphs of the singer are reflected in her book. — THE MUSICIAN 

My Favorite Songs 

High Voice By GERALDINE FARRAR Low Voice 

CThis gifted singer shows her musical training by the preponderance of German songs in the collec- 
tion she has brought together. The various numbers have been sought out with indefatigable zeal, 
largely from treasures of song buried or neglected in the works oi great writers, and are therefore, in 
many ways, new to the average teachei or singer. Songs from other lands, such as Russia and Scandi- 
navia are also included. The book contains a biographical sketch, portraits, a striking portrait on the 
cameo plate paper cover, in the engraver's best art. 

Miss Farrar's selection evidences a most eclectic and at the same time impeccable 
musical taste.- MUSICAL COURIER 

The Most Attractive Volume of Folksongs Ever Published 

My Favorite Songs 

High Voice By MARCELLA SEMBRICH Low Voice 

CMarcella SSmbrich was the first among great singers to reveal the treasures of folksong, and her 
knowledge of these gems from many lands is most extensive. In this volume she has collected those 
which her experience proved were grateful to the singer and pleasing to her audiences. 

These are the folksongs which Marcella Sembrich has sung so often in her concerts that the 
seal of public approval is stamped upon them all.— MUSICAL COURIER. 

High Voice 

My Favorite Songs 


Low Voice 

C.No contemporary recital-singer has a larger following of charmed listeners than Mme. Gluck, and 
her excellent choice of songs plays a vital part in her success. The numbers included in this volume 
she has gathered from many sources; but they all serve to display the suave lyricism, the delicate 
nuances, and the arch humor of her captivating art. Portraits and an introduction from the pen of the 
singer complete the attractive features of the book. 

Singers will do well to avail themselves of this rare selection of songs, with which the 
favorite singer has largely won her popularity — THE MUSICIAN 

Oliver Ditson Company, 179 Tremont Street, Boston 

Chas. H. Ditson & Co., New York Lyon & Healy, Chicago 

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Standard Opera Librettos 

All librettos have English text. Additional texts are indicated by Italic letters, as follows : 
/, Italian; G German, F French, Those marked with (*) contain no music and are 15 cents 
a copy. All the others have the music of the principal airs and are 25 cents each. 

A— G 







Africaine, L' 


Giacomo Meyerbeer 

Don Giovanni 


W, A. Mozart 



Giuseppe Verdi 

Don Pasquale 


Gaelano Donizetti 

*Amico Fritz, L' (Friend 

* Dorothy 

Alfred Cellier 



Pielro Mascagni 

Elisire d'amore, I ' 


Gaetano Donizetti 



C. W. von Ghick 



Edward Jakobowski 

Ballo in Maschera, Un 



Giuseppe Verdi 

(The Masked Ball) 


Giuseppe Verdi 

Etoile du Nord, L' (The 

Barbe-Bleue (Blue 

Star of the North) 


Giacomo Meyerbeer 



Jacques Offenbach 


Franz von Suppe 

Barbiere di Siviglia, 11 



Charles Gounod 

(Barber of Seville) 


Gioacchino A . Rossini 




Belle HeTene, La 


Jacques Offenbach 

Favorita, La 


Gaelano Donizetti 

Bells of Corneville 


L. van Beethoven 

(Chimes of Normandy) 

Robert Plan quelle 


*Billee Taylor 

Edwaj'd Solomon 

Figlia del Reggimento, 

La (Daughter of the 


Franz von Suppe 



Gaetano Donizetti 

Bohemian Girl, The 

Michael Wm. Balje 

r me ue jjiauame Angot, 






Charles Lecocq 



Georges Biz el 

Flauto Magico, 11 (The 




Magic Flute) 


IV. A. Mozart 

Cavalleria Rusticana 


Pielro Mascagni 

Fledermaus, Die (The 

Chimes of Normandy 



Johann Strauss 

(Bells of Corneville) 

Robert Planquelle 

Fleur de The 


F Ilcrve (Ronger) 



Gioacchino A. Rossini 

Flying Dutchman, The 

Richard Wagner 

Contes d'Hoffmann, Les 




(Tales of Hoffmann) 


Jacquts Offenbach 

Fra Diavolo 


D, F. E. Auber 

Crispino e la Comare 

Freischiitz, Der 

G. Carl Maria von Weber 

(The Cobbler and 



, the Fairy) 


Luigi and F. Ricci 


Crown Diamonds, The 


D. F. E. Auber 

♦Gillette {La Belle 

Dame Blanche, La 

F. A. Boieldieu 


Edmond Audran 

Damnation of Faust, The 


Pleclor Berlioz 

Gioconda, La 


A mil care Pone hie Hi 



Giacomo Meyerbeer 



Charles Lecoco 

^Doctor of Alcantara, The 

Julius Eichberg 

Gotterdammjrung, Die 


Richard Wagner 




Standard Opera Librettos 

All librettos have English text. Additional texts are indicated by Italic letters, as follows : 
/, Italian; G, German; F, French. Those marked with (*) contain no music and are 15 cents 
a copy. All the others have the music of the principal airs and are 25 cents each. 

g— z 


Grand Duchess of 
Gerolstein, The 

Jewess, The 
Konigin von Saba 

(Queen of Sheba) 

Lily of Killarney, The 
Linda di Chamounix 
♦Little Duke, The 


♦Lovely Galatea, The 

Lucia di Lammermoor 

Lucrezia Borgia 
♦Madame Favart 



Marriage of Figaro 

♦Mascot, The 

Meistersinger, Die 
(The Mastersingers) 


Merry Wives of 
Windsor, The 


Mikado, The 
♦Musketeers, The 





F. Jacques Offenbach 
Ambroise Thomas 

I, Jacques F. Halevy 

G. Karl Goldmark 
I. Leo Delibes 

Sir Jules Benedict 
I. Gaetano Donizetti 
Charles Lecocq 
G. Richard Wagner 
I. do. 

Franz von Suppe 
I. Gaetano Donizetti 
L do. 

Jacques Offenbach 

F. Jules Massenet 
Wm. Vincent Wallace 

L W. A. Mozart 

/. Friedrich von Flotow 
Edmond Audran 

G, Richard Wagner 
I, Arrigo Boito 

Otto Nicolai 
I, Ambroise Thomas 
Sir Arthur S. Sullivan 
Louis Varney 
Richard Genie 
I, Vincenzo Bellini 

Edmond Audran 
C. W, von Gluck 

Pagliacci, I 

Pinafore (H.M.S.) 
Prophete, Le 
Puritani, I 

Rheingold, Das (The 


Robert le Diable 

Romeo et Julietta 

Romeo e Giulietta 

Samson et Dalila 


♦Sleeping Queen, The 

Sonnambula, La 
♦Sorcerer, The 
♦Spectre Knight, The 


Traviata, La 

Tristan und Isolde 

Trovatore, II 

Ugonotti, Gli (The 


Verkaufte Braut, Die 
(The Bartered Bride) 

Walkiire, Die 

William Tell 

ZauberfliJte, Die (The 
Magic Flute) 

Text Composer 

/. Giuseppe Verdi 

I, R. Leoncavallo 

G. Richard Wagner 
Sir Arthur S. Sullivan 

I. Giacomo Meyerbeer 

I. Vincenzo Bellini 

G. Richard Wagner 

/. Giuseppe Verdi 

/. Giacomo Meyerbeer 

F. Charles Gounod 

L do. 

F. Camille Saint- Saens 
I. Gioacchino A. Rossini 

G. Richard Wagner 
Michael Wm. Balfe 

/. Vincenzo Bellini 

Sir Arthur S. Sullivan 
Alfred Cellier 
Friedrich von Flotow 
G. Richard Wagner 
J. Giuseppe Verdi 

G. Richard Wagner 
/, Giuseppe VeraH 

J. Giacomo Meyerbeer 

G. Friedrich Smetana 
G. Richard Wagnsr 
I. Gioacchino A . Rossini 


W. A. Mozart 


g^=it====sn r=i i - ir==nr ir= i i i i=ir 

J Songs from the Operas 

Edited by H. E. KREHBIEL 

Bound in paper, cloth back, $1.75 each, postpaid 
In full cloth, gilt, . n . $3.00 each, postpaid 

In these volumes of THE MUSICIANS LIBRARY the editor has 
presented in chronological order the most famous arias from operas of 
every school. Beginning with songs from the earliest Italian productions, 
a comprehensive view of operatic development is given by well-chosen 
examples from German, French, and later Italian works, down to con 
temporary musical drama. 



11. Each song or aria is given in its original key with the original text, and 
a faithful and singable English translation. 

C^Each volume contains an interesting preface by Mr. Krehbiel with 
historic, descriptive and interpretative notes on each song. 

Portraits of the most noted composers represented are given in each 

Size of each volume, gj^x ii}4 inches. 

Soprano Songs from the Operas 

Contains twenty-three numbers by nineteen composers. The music covers 188 
pages, the prefatory matter 25 pages. Portraits are given of Beethoven, Bellini, Gluck, 
Gounod, Meyerbeer, Mozart, Rossini, Verdi and Weber. 

Mezzo-Soprano Songs from the Operas 

Contains thirty numbers by twenty-five composers. The music covers 186 pages, 
the prefatory matter 29 pages. Portraits are given of Auber, Bizet, Donizetti, Handel, 
Massenet, Saint-Saens, Spontini, Thomas and Wagner. 

Alto Songs from the Operas 

Contains twenty-nine numbers by twenty-two composers. The music covers 176 
pages, the prefatory matter 20 pages. Portraits are given of Glinka, Gluck, Handel, 
Lully, Meyerbeer, Purcell, Rossini, Thomas and Verdi. 

Tenor Songs from the Operas 

Contains twenty-nine numbers by twenty-one composers. The music covers 192 
pages, the prefatory matter 27 pages. Portraits are given of Beethoven, Bizet, Giuck, 
Gounod, Mascagni, Massenet, Verdi, Wagner and Weber. 

Baritone and Bass Songs from the Operas 

Contains twenty-seven numbers by twenty-four composers. The music covers 
188 pages, the prefatory matter 20 pages. Portraits are given of Bellini, Bizet, Cheru- 
bini, Gounod, HaleVy, Handel, Mozart, Ponchielli and Tchaikovsky. 

a t i f==i i i r=i y i i=i i_— i r=ii